Interview: Angela Low, Marketing Program Manager Shops, Cafepress.com

Artists look to Cafepress.com to help them earn from their art. In the following interview Angela Low, Marketing Program Manager for Cafepress.com, helps artists learn the business of Cafepress.com."

Interview:

Angela Low

Marketing Program Manager, Shops

Can you give us some background information on yourself…how you came to be Marketing Program Manager at Cafepress.com?

I started CafePress in 2001 so I have been here for over 9 years! During my tenure I have held many positions – from account manager to community manager to my current position as a program manager – the one common thread has been interaction with Shopkeepers.  When the need came for someone to manage programs for shops, a role that was perfect for my background, I eagerly stepped into that role! 

What is it in your job that brings you the most satisfaction?

When the programs I’m involved with are positively acknowledged and beneficial to the CafePress community.

What are some of the biggest misconceptions that Cafepress.com shop owners have?

I think the biggest misconception Shopkeepers have, especially new ones, is to assume making money on CafePress is easy. Some Shopkeepers assume that designing products and opening a shop is enough to make sales. Similar to other businesses it requires a lot hard work and it’s certainly not easy. 

What is the one thing that most shop owners can do to increase their sales?

Know your target audience so you can promote efficiently.  For example, knowing your audience allows you to use the right key words and descriptions for your shop and products when optimizing for search engines.  It’s good to describe your products but knowing your buyers will give you an advantage. 

What is the most common mistake you see shop owners making?

Sometimes Shopkeepers neglect to optimize their shops for search engines, it’s an easy thing to do and is very important.   

How big an impact does the design or layout of a shop have?

Very important, great navigation is the key to conversion. If you have traffic to your shop but you’re not seeing conversion – it’s possible your shop is poorly laid out and buyers are not finding what they want. Generally, we recommend offering customers a simple way to browse products by design or by product type.  Some savvy Shopkeepers also offer additional browse options such as by “price” or “topic.”

Is there any co-relation between how many designs a shop has and how successful it is?

For the most part, there is.  The more designs you have, the more likely customers will find what they are looking for.  However, if you have a lot of designs be sure your shop is well merchandised.

How would you define the success of a Cafepress.com shop?

It depends on how you define success. We have Shopkeepers who feel successful that are making $20 a month – and Shopkeepers making thousands.  My definition of a successful shop is one that consistently sells each month, from there it becomes easier to grow.

What is a realistic revenue goal for individuals running Cafepress.com shops?

If a Shopkeeper is willing to put hard work into marketing their shop and have great designs, a realistic goal is several hundred dollars a month.  For some Shopkeepers, several thousand is realistic.

Is it important to add social media into the mix…and if so, how can we do that?

Social media is good and cost effective way to market your shop, a good start is sharing your shop and products with friends on Facebook and Twitter. Or, blog about your products – this helps your shop on search engines.  Perhaps create a Facebook page for your shop and ask your friends to be fans.

What products tend to have the most sales?

T-shirts, sweatshirts and mugs

What determines a products placement in the marketplace? Is there anything a shop owner can do to have their images come up sooner?

The best thing to do is accurately Tag your images.  Using random, and at times irrelevant, keywords to describe your image as a way to get more traffic may actually hurt your Marketplace ranking for that image.

Do you have any suggestions on where and how to learn what we need to know to succeed in our Cafepress.com businesses?

Every situation is different but I recommend talking to other Shopkeepers to see what they have tried, what’s worked for them, and what didn’t.  The CafePress forums are a great place to meet fellow Shopkeepers.

Can you share a Cafepress.com success story or two?

Because of our privacy policies we can’t share specific success stories unless given permission.  However, I can share general groups of Shopkeepers that have seen success in their own way.  For instance there are many Shopkeepers that quit their day job to work on their CafePress shop full time.  Many Shopkeepers use CafePress to successfully raise funds for their non-profit organization or cause. And quite a few use their CafePress shop as means to earn side cash – we had a Shopkeeper that used some of that money to buy her first house!

Do you have any final thoughts you want to leave us with?

If you have talent for great designs and you’re willing to put in the time building and marketing your shop – you’ll do well. I suggest learning about online marketing, talking to other Shopkeepers, trying new and different ideas, and be patient! Don’t give up! 

For those of you interested you can view my coffee mugs, T-shirts, sweatshirts and other imprinted gifts at my Cafepress.com Shop.  Presently I am earning a couple of dollars a day.

Yuri Arcurs, Leading Microstock Photographer, Interviewed

Yuri Arcurs is the world's best selling microstock photographer...and shares his thoughts and experience on stock photography in the following interview.

Like most “traditional” stock photographers I wish microstock had never happened…but it did and now it seems to be the 600-pound gorilla of the stock photo industry. But as much as many of us blame microstock for the decline in our ability to earn a living, some individuals seem to have mastered the medium and are actually doing phenomenally well…and at the front of that pack is Yuri Arcurs.

Yuri is the world’s best selling microstock photographer…which probably means he is the best selling photographer period. His website is a treasure trove of information not just for those wanting to learn the business of microstock, but even for old timers such as me!

PDN named Yuri, one of the most influential photographers of the decade, Hasselblad sponsors him, he runs marathons, has a BA in psychology (which he apparently actually uses in his photography career), is a former member of the Danish Special Forces and is setting new standards for sharing information with fellow photographers. 

Yuri, can you give us a brief account of how you got into photography…and into microstock?

I have loved photography ever since I was a child. I believe I started doing photography in the sixth grade. When digital photography became accessible I slowly started thinking of it as having the potential of being more than just a hobby. While studying psychology at the University, I started shooting stock using my friends as models. Mostly just for the fun of it, but I soon saw great potential, especially in microstock. I started studying the subjects that sold the most: best themes, body language, specific model types, etc. Then I started setting up shoots based upon this research, and that’s when it all took off.

This might be a hard one to answer, but why do you think you have succeeded to such a degree when so many others have not?  Did you have a plan?  What did it really take?

I think my success is rooted in more than just one action or by me having a “special” plan, but two aspects stand out and are certainly worth mentioning: I started at exactly the right moment, so when I decided to go all in, the timing was perfect. If I had started my business in 2007 or 2008, I would have faced a much bigger challenge than I did in 2004/2005. I started doing microstock on a business level long before the established agencies saw microstock as a serious business, which was clearly to my advantage.

The stock community was a very closed community. I have always believed in the theory that open competition outmaneuvers closed communities and it was with this theory in mind that I basically decided to put all my eggs in one basket. Because that is basically what I did. I put all my eggs in one basket and won.

With this being said, of course I had a plan. You cannot go all in the way I’ve done it without having a plan. My goal was, and still is, to be the best, and I continuously work towards keeping this goal.

The stock industry is changing by the second…and is a much different animal than even when you started five or six years ago. Is it too late to get into the microstock game now?

The short answer would be yes. If you plan to be successful in this industry it’ll cost you an enormous amount of money, you will have to work 24 hours a day for several years, and you will have to be exceptionally skilled. You will also have to be more than just an extraordinary photographer and you will have to know the industry of stock photography very well. Of course, I won’t say that it’s impossible, but the industry is very competitive.

Some very accomplished traditional stock photographers have sampled the microstock waters… some have even gone way beyond just “sampling the waters”…and declared microstock unsustainable…yet you and others seem to be doing very well. What gives?

The traditional stock photographers are not evolving with the industry. They stick to traditional methods and they are not willing to produce as much as is required today. I don’t believe microstock to be unsustainable, but I do believe we will meet challenges in the time to come. We will have to evolve with the industry and if the older generation of stock photographers will continue to do microstock, they will have to keep up and probably rethink some of the more traditional methods of doing it.

iStockphoto seems to be pushing for photographer exclusivity. Could you give us your thoughts on exclusivity versus spreading your work around…and where you think the industry as a whole is headed in regards to such exclusivity?

I think that while the all-traditional industry had a big problem realizing and understanding when they were facing serious competition from microstock, the microstock non-exclusive agencies right now have a very serious lack in understanding the actual competition that they are getting from iStock. They don’t get how far ahead iStock is actually becoming and this could potentially be a problem over time. The microstock agencies are paralyzed by their own success and they can't evolve beyond the very simple business model of 2004/5. iStock can, and does so extremely well with multiple price brackets and levels, and with educational events for photographers that teach that "little extra". The problem is also that the primary CEO's of the non-exclusive agencies are amateur photographers at best and often don't know good design, good pictures from less good ones, and really don't care too much about the "whine" in the design world. iStock is way better at this and when we start getting out of our current economic crisis, they are prepared for nurturing the high paying customers. Non-exclusive agencies will be the "leftovers", but the CEO's will probably disagree to the grave, not realizing that they have been check-mated for a couple of years and iStock has been earning bulk in those years. It's sad, because if the non-exclusive actually started doing a higher price bracket, it would be followed up and demanded by the photographers that other agencies also do this and it would outpay iStock's programs because of the total volume of non-exclusive traffic.

I have chosen to be non-exclusive as this was clearly the smartest thing to do when I first started, but at the moment it is easier to compete when being exclusive with iStock. I suspect that this will change when the microstock agencies begin looking at iStock and how they do things. I think I’ll stay non-exclusive for the time being. Unless a convincing offer is made…none have been convincing enough so far. :)

You are known as the worlds best selling microstock photographer…and you participate in "macro" stock as well. How involved are you in macrostock?

I have about 7000 images in macrostock. And I plan to add at least 4000 images this year. So I think it’s safe to say that I’m very much involved with macrostock.

What are some of the important differences you have found between micro and macro stock?

Attention to detail. There are clearly much higher demands to things that go beyond technical quality in macrostock. Images in macrostock are more natural and often on a much bigger scale than in microstock. Microstock images, in general, contain more contrasting colors and the situations often seem more stylized.

With plenty of experience in both macro and micro under your belt, can you share any insights as to what the future looks like for one versus the other?

If the non-exclusive agencies don’t step up their game, I think we’ll see microstock becoming much less attractive to the buyers. Refined shooters will move to exclusivity and I will start selling primarily from my own site. I think macrostock, and especially iStock, will come to dominate the industry if things do not change.

With the staggering number of images that you have produced, how do you avoid cannibalizing your own work…or is that just not a problem?

I don’t avoid it, and it is a problem. I have to always strive to be better, and I am, but it’s an unavoidable problem. I do my very best to always do new situations and new kinds of shoots, but always to avoid doing something similar to my older work is impossible.

Many of us "traditional' stock shooters have a strong dislike for the search by download feature of microstock agencies because it facilitates the "copying" of best selling imagery. Does that bother you too…or do you have a different attitude about it?

Of course, it bothers me when people duplicate my work. It’s very frustrating to see your work being duplicated. But I understand the feature and I don’t dislike the feature itself. I dislike the people who use the feature to find my most popular images only to copy them. It’s scary how big plagiarism is in the industry and I think it’s a disgrace. People should be credited for their own work and their own talent - not the work and talent of others.

(John - if you want a good example of duplication, take a look at the image “Rock Guitarist. vector” (Image ID: 56152543) and my own “Rockstar with a guitar isolated” (Image ID: 27865846) on shutterstock.com)

It has never gone public, so it will hit like a bomb.
 

OMG! Pretty Blatant! And on the same agency…I agree that it is a disgrace!

There are plenty of rumors that your micro income has plateaued or even is falling due to the over saturation of images in the market. Have you found that to be true?

It is true that my return per image has decreased with almost 1 USD a year since 2009. My return per image topped at 9.1 USD in 2009, and in 2010 it topped at 7.10 USD. It is continuously falling and I expect it to top at 5.6 USD in 2011. My total income, however, is not falling, but this is only due to my working and producing like a mad man. I have doubled my portfolio in 2010, but this is, of course, not sustainable. I can’t continue to increase production like this forever, so something has to change. But as mentioned, I suspect the industry will change during the next couple of years.

If you had to single out one thing that is most important for success in microstock what would it be…. and is it the same for success in macro stock?

I believe that in microstock you can get far by knowing the right tricks, and in macrostock it’s more about knowing the right people. This is also why it is so difficult to get into macrostock.

Do you have a formula for the cost of production per image?

I don’t have a specific formula for the cost of production per image, but I find it very hard to produce an image for less than 20 USD.

Do you think personal branding is important either now, or in the future, for success as a stock photographer?

I think it is important, and I think it will only become more important in the future. I believe we, in the future, will see buyers getting bored by the microstock look. And this will probably make personal branding more important, if not necessary, if you want to succeed in the industry.

What role does Social Media (Facebook, Twitter, Linked In, etc.) play in your business?  Do you believe it is essential for photographers to participate in?

Much of this industry takes place online and participating in the online discussions is very important to keep up with what’s going on. I don’t think it’s that much different from many of the other industries that change as fast as stock photography does. If you don’t read blogs, follow the discussions on Twitter, know what’s happening on Facebook, you won’t be up to date and you won’t be visible to potential buyers. The information flow happening on sites such as Facebook and Twitter is huge. If you, as a photographer, don’t participate in the online discussions, you will miss out on important trends and new ideas.

What would people be most surprised to learn about you?

When I was a teenager, I competed as a pro-gamer on the national team in Denmark. I can't say more. :) I learned some exceptional computer skills, which I have had great use of in both my work and personal life. And I secretly play sometimes and kick some online butt… :)

If you couldn't be a photographer what kind of work would you do?

I love my job and I would not want to do anything else! Where else can you deduct a floating rubber duck on your tax. :)

Are there any photographers that inspire you?

Hundreds. Tons. At the moment, though, I’m really interested in exceptional retouchers. No one mentioned, no one forgotten. I will leave it with that and not get in trouble. :)

On your website you provide a wealth of information on how you approach the business, on what to shoot, how to light and so forth. Can you also share with us your reasoning for sharing so much?

I have never been very protective about my knowledge. I have heard many stories about mentors hiding equipment and work from their interns and young apprentices. I have even heard stories about photographers misleading and lying to the young people who come to them eager to learn. I think it’s a disgrace, and I have never understood why people won’t share their knowledge with people who want to become better at what they do. I will gladly share tips and tricks with newcomers, and if the product of this sharing is more beautiful images and more talent in the industry, so be it.

Can you share a favorite stock photo of yours...and the story behind it?

This is the result of one of the craziest shoots I've ever done. I and
several of my assistants went to Tirstrup Lufthavn, which is about 1
hour from Aarhus here in Denmark. My goal was to capture a perfect
shot of a jet flying by.

It was a massive challenge: Lighting up the sky and catching the plane
at exactly the right moment when it was lit up perfectly by Profoto
lights powered by 24,000 watts of batteries. In between the jet's
passes, commercial airplanes were taking off and landing. It was
crazy.

I used my 39MP Hasselblad H3D-II mounted with a Hasselblad 28mm lens
and my custom made monopod (The Yuri Arcurs SteadyPod
http://www.steady-pod.com/scripts/prodViewnew.asp?idproduct=217), but
it still took me ages to get just the right image. We shot all day,
but when I finally got the image - after hours of frustration - it was
all worth it. And it was an amazing experience standing there with
planes flying right by you at a speed of several hundreds km/h.

You have plenty of instructional videos on your site…do you also engage in motion stock…or have plans to do so?

Yes. We have about 500 clips now.

Yuri, the future of stock photography…pessimistic or optimistic?

It really depends on the non-exclusive agencies now. It could be fantastic.

Do you have any final thoughts you would like to leave us with?

I have said too much already. I will probably get in trouble for this email. Tons of emails await. :)

To learn more about this amazing man, and see more of his work, visit his website: www.arcurs.com.

Robert Henson Interview

The road ahead for the stock photo industry is a question mark, the future, anybodies guess.

Robert Henson Interview:

Robert Henson is President of PACA and Director of Channel Relations and Sales for Blend Images. 
Robert, your involvement in stock photography goes back to the early days of Photodisc. Can you bring us up to speed on how you got into stock photography and how you ended up with Blend?

I came into the industry from the business side and not as a photographer, first working in a client services capacity at PhotoDisc (on the eve of Getty’s acquisition), then moving into content production and operations; from there I built the image partner team and ran operations during Getty’s expansion of the program.  This allowed me to meet many other agency owners, including Blend’s.  Blend is a unique business, very “DIY” – I liked the people, where the business was at and the change for me was like exercising a different set of muscles.

You are the new president of PACA. For those who are not familiar with PACA, can you give us a brief run down on what it is all about?

The Picture Archive Council of America is the trade association for licensors of visual media.  Historically, PACA has been around for about 50 years, promoting the general interests of editorial libraries, archives and stock agencies; it has done tremendous work for its members around providing a voice for copyright concerns, working with publishers and advocating for our community.  PACA is largely a volunteer organization with a very small paid staff; our officers and committees commit their time and resources for the benefit of the community.  Our members include many North American image libraries, of all stripes, and many international members.

As we all know, our industry has being going through incredible change. PACA is changing too. Can you give us a glimpse, or more, of where PACA is headed, or where you would like it to head, during your time as President?

We had our initial board meeting recently, and I had remarked that in the 13 years I’ve been in this industry it has been nothing but change.  Royalty Free, professional digital SLRs, crowd sourcing, and now a global recession larger than anything I’ve ever witnessed – all very disruptive forces that have resulted in consistent churn.  It’s not going to stop, I know that; one disruptive force will give into the next – the wheel will turn.  By its nature as being a community, a trade organization like PACA is the sum of its members.  We have many members who are strict technologists and not image libraries.  As the borders where we define our industry shift, so shall PACA.  I focus on our core interests as being a trade organization for licensors of visual media and its related markets, which is very broad but absolutely true.  Under that tent our interests are quite diverse, but the market opportunity is immense for our members.

To be honest, I, as an individual photographer, have never paid much attention to PACA. Should individual photographers be watching, and/or involved with, PACA?

Without getting too detailed, our general membership requirements preclude photographers from joining, as there are parameters around size and type of business.  Much of PACA’s work is beneficial to the photographer, as we educate on copyright and best practices, promote the value of our industry, and influence and join forces with other related trade associations (like ASMP and Copyright Alliance) who share our interests in the protection of copyright – the cornerstone of what we do.  If you’re a photographer that is dependent upon distribution channels that include a stock library or agency, then you’re already garnering the benefits of PACA (hopefully they’re a member!).  I encourage all photographers to ask their agency reps about joining PACA – also, pass along our metasearch engine: http://www.pacasearch.com .

How does PACA compare to CEPIC?

CEPIC (Coordination of European Picture Agencies Stock, Press and Heritage) is similar to PACA in that it’s member organization for licensing companies with economic interests.  It is much younger, forming in 1993, and initially European-focused.  We have been working very closely with CEPIC over the past few years and will continue to do so, as issues on digital rights management and intellectual property can often initiate trends that transcend borders.  To exemplify how close we are to them and them to us, CEPIC’s current president, Christina Vaughan, was PACA’s vice president last term.

Way back when you started, traditional stock shooters were pretty upset at the emergence of Royalty Free imagery. It was widely believed that RF spelled, if not the end of stock, certainly a huge step in the deterioration of the business.  To be honest, in some ways it did hurt traditional stock shooters, but others who embraced the new business model, were enormously successful. Now, of course, we have microstock.

What long-term impact do you see microstock having on the stock photography industry?

I think there are two things conflated in what we’re terming ‘mircostock’:  crowd sourcing and low prices.  I think crowd sourcing will have a long-term impact to our industry.  Advances in camera technology had allowed many to suddenly participate on the supply side, saturating the market with content and shifting a portion of buyers to micro channels.  Pricing is very intermittent and at whim to different influencers, but with technology allowing more to participate it will naturally invite more possibility of change.  From an agency perspective, it requires focusing more on the nuances of aggregating meaningful content for the market and ensuring that it’s getting in front of eyeballs.  Really, it’s the same challenge whether you’re an iStockphoto or a Corbis.

In this day and age of the Internet, is it really necessary to have all the subagents?

There are certain functions a subagent – or local agent – can perform that a large site cannot.  In local markets – really, any market big or small – there will be someone who wants to pick up the phone and call their personal rep.  Relationships can still operate in this time of consolidation.  I see it everyday, from Blend’s own direct business to a local agent in another market (and culture, and language) who maintains a strong book of business.  That’s not to imply that larger aggregators don’t have personalized client services, as most do.  They’re different propositions.

Back when I first became involved in stock photography, at least with the large agencies, you had to be agency exclusive. Then things loosened up and the industry became "image exclusive". Now it seems like every image is available on every site. On the other hand, iStockphoto, and perhaps some others, seem to be re-introducing the concept of agency exclusivity. Can you comment on that?

Agency exclusivity, whereby a photographer can only submit to that agency, is certainly good for the agency as it’s pro-competitive.  If the photographer feels as though they’re getting a strong return for their loyalty, then it seems symbiotic.  Do I think it’s a trend?  No.   

It's fairly challenging for us individual photographers to see "the big picture". Most of us just see declining returns, increasing competition and what is happening in our microcosm of a few agencies. Is there a "big picture", and what is it?

Faster creation, distribution and consumption of visual content across all devices; advances in the sophistication of content, including DRM; challenges to copyright, especially fair use and piracy.  I spoke to someone recently about how some technology companies participate in our industry, and what their perspective is given how they’re building models based on anticipated behaviors and other assumptions:  I could see how our industry might be perceived as being an immature market.  It’s easy to say we’re one thing right now, but that’s subject to change.

Looking at microstock for a moment, I personally know several "traditional" stock shooters are have jumped in and are very optimistic about their results. They are seeing returns that are viable and growing. On the other hand, some incredibly successful photographers from RM and RF have tested the waters and found them wanting. I, for one, don't know what to think. I know at Blend Images you have introduced yet another category, "midstock".  How do you see this whole RM, RF, Midstock and Microstock thing sorting itself out?

You’re referring to ‘Boost’, which is Blend’s value collection.  Blend has always been positioned as a premium collection, for both RF and RM.  It’s natural for a RF collection of a certain size to start segmenting its product across different pricing tiers, as it provides opportunity to have conversations with all buyers and also frame parts of the collection distinctly from others, which in turn reinforces value in the mind of the buyer.  There will always be RF prices from $0-1,000, but the challenge is in communicating the value in that price, whether high or low.  Blend sold a RF image for thousands of dollars to a client that wanted to pull it from the market for one year.  They didn’t care that there might be perpetual RF licenses out there and that might conflict.  What does THAT mean, with regards to sorting out prices?  Value is in the eye of the beholder and price is always negotiable?

I keep thinking that traditional agencies are missing opportunities by not providing for the thousands and thousands of small licensing uses such as blogs and personal uses. Can you give me an agency perspective on this?  Are microstock sites providing for such needs?

There are a few technologists getting into this space – the first (I think) being PicApp which was started by PicScout.  Theirs works by embedded ads, which any ad revenue is shared by source agency and PicApp.  The blogger pays nothing.  I like their approach, as the expectation in the blogosphere is a five-finger discount; already, they’re not forcing behavioral change at the outset.  Trying to get a blogger to pay for an image is difficult, in that they’re largely uneducated about copyright and usage rights.  Education on these topics will be critical for our industry to get inroads in this community and future protection of our revenue.  Two weeks ago, I found an image (Blend’s) on someone’s personal blog being used without a license.  Someone in our office emailed the infringer, stating that they didn’t have the rights to use the image and that she’s placing herself at risk.  The infringer emailed back stating that she’s sorry and had corrected the issue, copying in the URL of where the picture was.  The picture she used as a replacement was a Corbis image, with watermark.  I think that illustrates what we’re up against in the blogosphere and education in general.

Some of the statistics being thrown around about licensing infringement are staggering, as in up to 80% of all online uses being cases of image theft. Now you have a growing number of companies using image recognition to track uses and hopefully reign in and monetize some of those infringements. Do you think such technologies will have an impact?

I do, but maybe not to the degree that we’d like to see, or in the way they would like to operate.  Most of these services allow agencies to identify and recoup infringements, but it’s a very delicate coordination of efforts that takes expensive resources to pursue.  A possible effect of the technology being used and developed is that with smarter content – through embedding (DRM, PLUS, XMP/IPTC, etc.) and imprinting – both pieces might give us better tools to combat infringements.  Piracy is our biggest problem in this industry.  PACA will be leading the initiative to provide substantiated metrics for our industry on the impacts of unauthorized use, which will go to the government, as well as be publicized.

Is there still growth potential for the industry, or in order to grow do agencies and photographers have to increase their share of the existing market?

This is still an industry in change, with a changing marketplace to service.  The recession is the biggest restriction on growth at the moment.  Copyright education and combating infringement could greatly expand the market, if we were to see significant inroads there.

I think we are all familiar with the challenges facing individual photographers; oversupply of images, increasing competition and downward price pressures. What are the bright spots as we look ahead?

Despite rumors to the contrary, this is still a big market.  Visual content must be current, so there’s ample opportunity.  Ad spending has been down for a while; as it picks back up there’ll be a lift.  I don’t expect a massive volume rush, but things will come back around.  Someone will be making money.

Do you have any recommendations for photographers who want to succeed in stock photography?

Do you love what you do?  If you love what you do, it’ll transpire in your work.  If you’re good, there’s a market for your work.  Find someone who can help you navigate the landscape out there.  Try making some content for different channels and watch closely to see how they do for you.  Talk to Blend : aside from me, the staff is smart!

Are there any final thoughts you want to leave us with?

I think this is the most exciting time to be in our industry.  Hands down.  Thanks for letting me grace your blog, John!

Sarah Golonka Interview On Successful Stock Photography

 One of Sarah's favorite stock images. ©SarahGolonka

 Sarah, as an art director/editor for several stock agencies, a freelance photographer, stock consultant and a stock shooter, you must have, in a sense, a kind of “global” perspective on stock photography. Can you fill us in on your background in stock and photography, and your journey to where you are now?
I have been involved professionally with stock photography for over 7 years now, entering  the field shortly after graduating from collage at Purdue University, in West Lafayette, IN,  where I studied fine art photography & psychology.  At that time, I didn’t even know about stock photography, and how it would soon be playing such a major role in my future career.

Just after graduation,  I landed an internship as a photo assistant at this great little stock photography agency called PictureArts, in Culver City, CA. When I began interning at PictureArts, it was still a very small company, owned by Jeff Burke & Lorraine Triolo.  It was while I was working with the team at PictureArts, that I began to learn about the world of stock photography, and how stock photography was beginning to play such a major role in  the advertising market. I was soon hooked, and dove into learning all aspects of the stock photography world.

Fast forwarding a few years, I went from being an intern, to an editor and art director for PictureArt’s Brand X collection, worked freelance as an Art Director/Producer for both Jupiter Images & Corbis, and in addition, became a Senior Editor at Blend Images.  While each of my positions at these various stock agencies filled up my weekly schedules, I also took the time to shoot as a stock photographer as well.  I am currently represented by Jupiter, Getty, Blend Images & Tetra.

Throughout the years I have had the great opportunity to work with and learn from so many amazing creative people within the stock industry.  I’ve also have had the unique opportunity to see the stock photography world from both an editor and a photographer’s perspective.  This gives me a unique perspective, which I use to help encourage other photographers not only to shoot smart, but also to shoot creatively.

How are you allocating your time these days (with stock, editing, photography assignments and consulting)?
I am working on quite a few different projects, all of which I love!   Right now my time is spent as both a stock photography consultant, (which includes both editing and art direction for a few different stock photographers and agencies,)  and then I am also shooting as a freelance stock, event & portrait photographer, within the Los Angeles, CA area. You can view my current work on my website: http://www.smg-photography.com

At the moment I am working on an exciting project with Sanrio (Hello Kitty,) as their event photographer for their Three Apples Exhibition, which is a 3 week long exhibit celebrating the 35th anniversary of Hello Kitty. This is currently  taking place at Royal/T Café, in downtown Culver City, CA.  I’ve been documenting all aspects of this event and look forward to having my photography published next year in a book that will be sold as a commemorative item of the event.  You can learn more about this great event by visiting the Three Apples website: http://www.sanrio.com/threeapples


You were my editor at Blend Images, and also worked with several other photographers I am close with.  I know we all respected your feedback and your ability to help us see how we could maximize our stock shoots.  From your experience are there any “universal” or “common” areas that most photographers overlook when shooting stock?
Focusing on quantity vs. quality:
I still see so many photographers trying to shoot aggressively, focusing on the quantity vs. the quality of the images that they are producing for stock.   Especially these days, within this current marketplace, I think it is so important to shoot smart, which means turning your focus to producing images of higher quality instead of quantity.   Many photographers also need to start putting much more time into their pre-production; taking an extra moment to do the research to see what does and does not already exist in the current marketplace, generate some new ideas that they haven’t seen on a stock site before, and incorporating those ideas into a shoot list ahead of time, in addition to communicating with their editors to make sure they are on the right path, before they even begin shooting.  Shooting blindly always will give you mixed results.


High production value:
I don’t think that a shoot needs to cost a lot of money to be successful, but I do feel that a shoot needs to reflect high production value in order to be competitive in today’s marketplace.  These day’s it’s so important to raise the bar and take the extra time to think about your concepts, casting, location, lighting and styling.  All of these details are equally important to make your images more sellable.  So many of the ‘same old’ images are out there now, so why not try to take these sellable concepts and put your own creative spin on them, or just create some new concepts on your own?  Clients want to spend money on images that look new and fresh and different than what they have seen before.  Plus, creating something unique will give you less competition within the existing marketplace and in turn, will generate more sales for you if you are shooting a sellable concept.

The photographer/talent relationship:
I also see many photographers not taking the time to connect with their models, before and during a shoot.  If you take the time to make a personal connection with your talent, they will be more comfortable around you and in turn, you will create stronger and more realistic images. Be nice and make friends. Models have feelings too!

Know your own stock sales history:
This I see a lot of shooters not doing.  They know they have made money from their images, but do they know exactly which images of theirs have been selling over and over?  More importantly, do they know which images of theirs are NOT selling?  Just by taking the time to review your stock sales history, you can learn a lot about what clients like and maybe do not like, about your particular style or choice in subject matter.  Once you start to research your own sales history, you then can begin to see, from a client’s perspective, what your stock photography strengths and weakness are, and then shoot accordingly.

How has your photography and editing experience helped you in shooting stock?
I have had the unique experience of looking at the stock photography world from two different perspectives, as an editor and as a photographer.  From this I have drawn the conclusion that it is of the utmost importance for a photographer to communicate with their editors and to take advantage of the creative feedback and advice that they are willing to give you.  If you have an editor that doesn’t give you much feedback, then be a bit more aggressive and ask some more specific questions.  Learning what your editor does and does not like, and why, will only help you become a better stock photographer.

Your editors are looking at your images from not only a creative standpoint, but also in terms of whether or not your images are sellable & competitive in today’s marketplace.  Always ask questions and find out why some of your images were not selected after an edit, then be sure to take that into consideration when you plan your next shoot.  Learn from each of your submissions.  Don’t be offended by your editor’s advice or criticism.   They are looking at your images in terms of salability, so take the time to learn why they think one of your images was more sellable over another.  This is how you can then start to shoot smart and then begin to gear each of your shoots towards your agency’s specific wants and needs.  In turn, you will begin to see your select rate begin to increase, which is what everyone wants, right?

For you, what is the most challenge aspect of shooting stock? 
Taking a great idea and actually getting it to reflect that concept in a contemporary & sellable way.  Having a great idea and then executing it successfully, is never an easy task. Today you have to take so many additional details into account so that your stock images look individualistic and different than all the rest.  Here is when spending the extra time in pre-production really comes into account.  Having a solid shoot list is a great start, but then hiring strong talent (that looks and acts natural in front of the camera,) in addition to  making sure all the location and wardrobe styling details work together too….it’s a lot more difficult than many people expect.  It’s always a challenge for me.

What is the most challenging aspect of editing or art directing another photographer’s work?
Communication.  Each photographer is different and some respond better to visual examples for inspiration, while others prefer more verbal direction.  Some photographers take constructive criticism well, others do not.  Any art director or editor can have a great idea or shot in mind, but communicating that idea successfully to the photographer, and getting them to shoot that concept in the way in which you want, is always challenging!

Can you explain what separates an average stock image from a best seller?
A best selling image will not only display a sellable concept that is easily understood by the masses, but it will also push the creative envelope.  A ‘best seller’ image doesn’t look like a similar to other images shot by other photographers.  It’s individualistic. It looks real. If it is a lifestyle image, the people in the image have very natural expressions and body language, as if they are real people who had no idea that a camera was even in the room.

A ‘best seller’ image usually will also have some negative space, (so that the client can have the ability to crop or add text overlay, to the image,)  and the image will also be identifiable at a small thumbnail size. (If a client is searching a stock website, if they can’t tell what the image is as a thumbnail, they will never click on it in the first place!)  Also, the styling will be just right, the colors will compliment the subject in a contemporary way and the details of the location will not overpower the subject, but will add to the story being told, in a very natural and realistic way.

How about what separates an average shooter from an exceptional shooter?
I would say that an exceptional shooter takes the time to ‘shoot smart,’ (aka: pre-production, creative research,) but then also takes creative risks. Almost anyone can shoot a sellable concept, but it’s those who shoot that concept in a creative way, which hasn’t been done or seen before, are the ones that open themselves up to creating some of the best selling stock imagery.  Yes, taking those risks may not always work, but if you do it right, the rewards will outweigh the risks.

What do you like to shoot the most?
I really love shooting people!   Working with two or more models is my favorite because I can get them to really interact with each other, which allows me to focus on documenting their natural, personal interaction, in a creative way.   

Where do you get your ideas?
I get my ideas from a multitude of different sources.   Yes, I always like to be aware of what already exists in the current stock marketplace, but then the key is to create something that doesn’t already exist.  So after I look to see what agencies do have, I then turn to other sources for my inspiration. I always take the time to visit the local bookstores to spend time flipping through all the magazines that are on the stands.  It’s great to see what existing stock images are being printed and how they are being used. But more importantly, I also make sure to review the more editorial, assignment and fine art resources as well.  I draw a lot of inspiration from looking at what many of the non-stock photography shooters are doing, by looking at different publications as well, or  by visiting gallery exhibits and reviewing various creative blogs and websites. Honestly, we are bombarded by visual imagery everywhere these days, so you can draw ideas from anywhere!


What is your process for creating stock?
When I am beginning the pre-production for a stock shoot, I first speak with my editor and make sure I am shooting agency-specific.  I want to know exactly what their specific wants and needs are, since I don’t want to waste anyone’s time.  Shooting stock is about creating imagery that will make money, so that’s my most important first step,  making sure my shoot idea is actually a sellable one and that it will include images that my agency will actually select for their collection.  

Next I begin my creative research so I can create a strong shoot list and determine all my production details.   I first look to see what my agency already has on the subject that I’m going to shoot, making sure I’m not repeating any of the same ideas so I can gear my shoot towards what hasn’t been covered yet.  Then I begin to pull tear sheets and other creative inspiration from a multitude of sources.  I also put a lot of thought into my casting, (do they have a sellable look and can they act natural in front of a camera? )  After that I determine my location, wardrobe details (including color and style,) and work hard to make sure that everything falls into place.  Before I shoot, if my editor is up for it, I send them my shoot list and some of my styling/production ideas to make sure I’m on the right track, before I finalize my production details and start shooting.

What kind of material, in your experience, has the most income potential?
Well, from my experience I know that there are certain subjects that are always very sellable, since there is such a need for them in the marketplace, such as sports, education, and seasonal imagery, but yet depending on what agency you are distributing your work through, those needs may change depending on the agencies specific clientele.  Being a bit more general, I’d say that stock shooters should strive for creating images that again, look different and have a higher production value than what we already see being over-represented at all these current stock agencies.  Overall, images that tell a story, look natural and realistic, and that portray a strong concept;  have the most potential for creating more income for the photographer.


What is the most common mistake that stock photographers make?
Shooting for quantity vs. quality. Slow down and take the time before your shoot to do the research, create a strong shoot list and make sure all your production ducks are in a row.   Then during your shoot, you can relax, be creative and focus on getting some good variety.

What is it like to have your own stock photography edited by someone else?
Difficult, but yet eye-opening.  “Knowing” vs. actually “doing,” are two different monsters, which I learned quite quickly.   I actually love getting a critique by another editor because it gives me the chance to ask all those important questions and to find out how I can grow to become a stronger stock photographer.  I think that many photographers look at their own work much differently than they would someone else’s,  since they have much more of a personal connection with it.  This is why it’s so important for me to get as much creative feedback as possible from my editors, after a shoot.  That’s the way I learn how to make more money creating stock.   I know that I may not always agree with their decisions, but again, I know they are not telling me whether or not I’m a good photographer, just whether or not my images are sellable.  That’s an important clarification to make and to always take into consideration. 

Have you involved yourself with motion?  If not, do you plan on doing so?
Currently, I am not, but I do plan to eventually become involved.  I’ve been keeping up with all the current trends in this new and upcoming market and for right now, I am actively watching and learning to see where it’s going. Motion involves many new financial investments, and has a bit of a learning curve too, so I don’t want to jump in until I’m ready.

I have this suspicion that what separates the best of RM, RF and Micro is simply the label we put on it.  That being said, I do believe there are images that are more appropriate for each category.  Can we have your thoughts on that?
I personally believe that the quality (and sometimes subject matter,) should be the main differential factor when placing images into one collection vs. another.

Over the years I’ve seen so much inter-mixing between each sales model that it’s almost anyone’s guess these days, on whether an image is a RM, RF or sometimes even Micro, just by simply looking at the image.  I believe that although at one time each individual collection was once visually identifiable, it is no longer as easy to make that determination.  But, to keep stock photography alive and financially sound for the photographers who do shoot it for a living, I do think many agencies need to redefine and adhere to an updated creative strategy, specific to each sales model.

As things stand currently, I think that image quality and subject matter should be taken into consideration when the decision is being made to which collection an image is being placed into. It is now in the past where one could assume that a RM image was of higher quality than a RF image.  Due to this fact, I think photographers should look at RF & RM in terms of being different sales models vs. a defining factor of whether or not their images are of high quality.  In turn, photographers should also gear their shooting towards one model vs. another,  since they appeal to two different types of clientele, and therefore, depending on which collection your images are in, it could have a noticeable affect on your image sales.

Now that Micro has made great strides in the marketplace, the competition has increased ten-fold and photographers have much more competition than they ever did in the past.  I think there is a place for RM, RF and Micro in the current marketplace, but in my personal opinion, I think it’s up to both the stock agencies and the stock photographers to do the right thing and help keep the definitions clear, between each collection. I also think that if a professional stock photographer decides to shoot micro, they should put a bit of thought into the repercussions of their actions. I believe that Micro should not include super high-quality images. These images have their place in RF & RM collections.   If photographers begin to submit high-quality work to Micro,  they will be helping to contribute to the downfall of current RF/RM stock price points, resulting in a image market where both high quality and low quality images are all competing at the same low price point.  This, in time, could dramatically reduce the income of any full time stock photographer, who makes their income from both RM and RF sales.

Hypothetically, let’s say a photographer shot a high-quality image and put it in an RF/RM collection, and then they took that same image and put it into a Micro collection.  What do you think will happen?   You’ll not only be competing with yourself, but how happy will you be with your sales when your Micro shot sold more than your RF/RM image, and in turn, you made a lot less money?  I think Micro has a place and is a great outlet for photographers who can afford a big staff to help with making shooting Micro profitable, in addition to many amateurs and part-time photographers who normally wouldn’t have a market to distribute their images.  (Yes, I know there are always exceptions…)  But right now I believe it’s more important than ever for a stock photographer to shoot smart and think about why you are placing your images in one collection vs. another, and what can happen over time,  if you want to keep making a profit from shooting stock photography full time.  


Do you think it is important, or will be important, for individual stock photographers, to have their work on their own web sites?
I think it’s important for any photographer to have their own work on their own websites.  Everyone is web-savvy these days and if you don’t have yourself professionally represented online, your potential models or clients may question the quality of your work, your intentions or you may just be closing the door to many potential job opportunities. 

Do you believe that Google Image Search is, or will become, a significant factor in the world of stock photography?
Yes, I think any image search engine, including Google image search, is going to keep becoming more and more significant as time goes on.  Understanding Google analytics is a very complicated process but it should not be ignored, since more and more people do a direct Google search to find what they are looking for, online.   Phone books are a thing of the past.  I know that I have personally received unsolicited work from a Google search alone, so why wouldn’t someone else take advantage of at least properly tagging their images and personal websites to help increase their marketing and exposure?

What advice would you give someone just starting out as a stock photographer?
Question everything and learn from the answers your receive, communicate with other stock photographers and your editor; and most importantly, stick to your own style and learn how to apply sellable concepts to your images vs. trying to change your style to what you believe is ‘successful’ stock shooting style.

What advice would you give a jaded veteran such as me?
Keep your head up and look back to help prepare yourself for the future. Be aware of and open to change and work with it vs. against it.  Analyze your sales history and draw your own conclusions as to why your images did and did not sell, then apply that information to your future shoots. Keep taking creative risks and stick to shooting what you are good at vs. trying to reinvent the wheel. 

Are you optimistic about the future of stock photography (and why or why not)?
Change is happening and honestly, I am more curious vs. optimistic about the future of stock photography.  I know it will not disappear, but also am unsure of how profitable it will be, compared to the past.  So much is going on right now …..I do not think that anyone will be able to make any clear predictions about it’s future until people’s spending habits (and art buyer’s budgets,) go back to normal and the economy stabilizes.  Regardless, I do know that the previous way that photographers used to go about producing stock photography is now part of the past.  The bar has been raised and much more effort is now being placed on the photographers shoulders, then ever before.  It’s no longer about pushing a button to document a simple concept.  Now it’s about creating an image that tells a story in a very new, interesting and creative way.

On a positive note though, I do feel optimistic that those photographers who are open to change, are willing to take creative risks and who pay close attention to the business aspect of their stock photography, (analyzing their commission statements, etc. )  These are the stock shooters who are on top of their game and in the end, will have the holding power to float above this current wave of change in our industry.