Choosing For the Future of Stock Photography

Confusion and lack of clarity make decision-making and choices for the future of one's stock photo career difficult.

Social Networking, Stock Agencies and a Whole Lot of Images

I have recently been conducting searches on Getty, Corbis, SuperStock, BlendImages and iStockphoto to compare their offerings. In the case of the above-mentioned “traditional” stock agencies, I chose them because they carry my work. I chose iStock because it is the first micro agency most people think of. In many cases the images offered by iStock are far greater in both numbers and in creativity than the photos I could find from the traditional stock agencies. Look up “social networking” on Getty, for example, and you get 84 results. Do the same search on Corbis and you get 92 results (interestingly SuperStock came back with 238 images and a surprising variety to choose from). Blend Images has 21 images, which considering its smaller and more-targeted collection isn’t bad. Look up social networking on iStock and you get 2,443. Yeah, there are some sketchy images there, but there are a whole lot of great pictures as well…and Corbis and Getty also have their share of junk. On iStock, however, you get a much, much greater range of photos to search from.

Hundreds of Thousands of Shooters and Greater Choices

Increasingly, at least as far as I can see, the micro sites are offering greater choices, and, at least in some cases, better choices as well. It seems logical…hundreds of thousands of shooters contributing photos to an agency as opposed to thousands. So if you are an art director, art buyer, designer or even small businesswoman (or businessman) looking for images, and you can find more and better ones (not to mention less expensive) at micro sites…wouldn’t you go there? Am I missing something here?

Traditional Stock, Micro Sites and a Strategy

One strategy for us traditional shooters might be to begin to put images up on micro sites and to start to build a presence there just in case that scenario actually happens. For me, it is really hard to pull the trigger on that. I am still doing quite well in traditional stock and as I create relatively few images, I still feel that I am better off now in the RM and RF markets. But what about two or three years from now…will I wish that I had created a body of work that could have been moving up in the search results all this time?

Room For A Higher Priced Offering

Apparently the upscale Vetta collection at iStock is doing very well, fantastically well even. The higher prices seem to be no deterrent to those licensing micro stock. I don’t find that terribly surprising…micro prices started at such low levels it makes sense that there is room for a higher priced offering. In traditional stock it has always been a given that price was not the determining factor in the licensing of an image…but rather the photograph being the right one.

Lesser Images and More Competition

If I do eventually cave in to my fears (or logic?), and overcome my ego problems with placing a low monetary value (at least per licensing) on my imagery and begin to contribute to micro sites, should I do the same kind of work I am doing for my RM and RF agencies? There is the temptation to contribute “lesser” images to micro, and yet I suspect that doing so would condemn me to failure in micro. After all, in micro there is even more competition…and the added problem of, as a beginner, not having high rankings in search returns. Too, while some of the most popular photographs and illustrations on the micro sites have some pretty phenomenal download rates, it seems (at least to me) that the number of images that return stellar and even reasonable returns falls off rather quickly. 

High Volume and Higher Price Points

Wouldn’t it be nice if there were a way to tap into the high volume of micro with a higher price point? Micro stock agencies are leaving a lot of money on the table…money that could go a long ways towards moving stock photography back in the direction of profitability for photographers.  There are a lot of very smart and talented people in this industry, so it isn’t far fetched to think that just such a scenario might be right around the corner. 

What Do You Think?

OK, this is an off-the-cuff look at the situation. Not having any work in micro limits what I know…and I haven’t spent hours and hours searching. So I am curious…what do those of you reading this blog think? What does your experience tell you…particularly those of you with both macro and micro experience? Is it time to step into micro…is it a better idea to wait a bit longer in the hopes a better scenario does come around? I would really like to hear from you!

How To Be A Better Photoshop Artist

To become a better Photoshop artist, become a better photographer pre-visualizing, planning and preparing for your photo shoot. A great shoot insures a great experience at the computer.

Becoming Rich Creating Stock Photos
I have been invited to make a presentation at the San Francisco Photoshop Users Group next Thursday. I spent the better part of today going through my images and putting the presentation together. That process reminded me of a couple of things. First, how much I love creating images. Ten years ago I thought I would become rich creating stock photos...and I have. But that wealth is not in money, but in being able to spend my time doing something I love so much.

Archimedes, Raw Materials, and Photoshop Artistry
The second thing that struck me was that to become a better Photoshop artist I need to become a better photographer. That old saying, garbage in, garbage out, is as true with digital imaging as it is with anything else. It was Archimedes who reportedly said, "Give me a place to stand and I shall move the earth ". Along the same lines I say, "give me the raw materials, and I can do anything in Photoshop!".  Of course, if you have the right raw materials, creating an image in Photoshop really is easy. For me to become more efficient and to create better images in Photoshop I need to pay more attention to the details of my photo shoots and to prepare more thoroughly.

Visualization, Detail, and Consistency
To become a better Photoshop artist it behooves me to pre-visualize my images in the most detail I can. Visualize exactly how I want the final image to look, and what is necessary for each individual part to work together to create the whole. What angles will I need?  What is the quality and direction of the light…and how can I make sure that the parts I photograph will be consistent in that quality and direction?

Hair, Fur and Stripping Out

Will there be hair and fur…and if so…how will I deal with it? Can I shoot it against a background that will meld with the one I will be putting it into? How can I shoot it in a way that eliminates or best facilitates the stripping-out process? How can I shoot my subject with the appropriate amount and color of light wrap around?

Perspective, Details and Motion

What kind of perspective problems might I encounter? What tiny details will take the image to the next level? Will motion be an issue…and how can I shoot something that will best indicate that motion? If I shoot something in motion, how can I do so in a way that will facilitate that stripping-out process?

Out of Focus, Or Blur Filters?

Will it be better to shoot something out of focus, or use the various blur options in Photoshop? How out of focus do I need to shoot? Do I need a particular kind of sky for a background (you can never be too thin, too rich, or have too many skies!).

A Detailed Sketch, Preparation, and the Best Possible Job

If you want to be a better Photoshop artist pre-plan your image to death. Make a detailed sketch of your upcoming image, number and label each potential problem area, and make sure it is addressed in the photography. That is a habit I developed when creating my Animal Antics imagery.  It is not a bad idea, either, to look at photos similar to what you are undertaking to offer an even more concrete vision of just what exactly you need to do the best possible job. Of course, even with extensive planning and preparation the unforeseen will probably crop up, both good and bad. But you will be way ahead of the game, and if you get into that magical “flow” you won’t have it rudely interrupted by some annoying detail that could have been avoided. Your work will be better, and maybe more importantly, you will have more fun!

Extra Effort and Big Rewards

A little extra effort resulted in a standing ovation and increased stock revenue.

A Little Effort and A Big Reward

A Little extra effort can make a big difference. I was perusing my sales database last night looking for insights into which of my images are selling the best. I noticed that an image of an audience, on a balcony in a theater, giving a standing ovation is doing quite well…over $500.00 in the last several months. I remember shooting the photo, and that it almost didn’t happen.

A Standing Ovation

I had rented a theater in Buenos Aires. I was doing a gang shoot with several of my associates that involved over thirty models. We each were doing our own thing rotating from area to area and periodically switching up models. It was late in the afternoon, things were winding down, and I was exhausted. One my associates was just finishing shooting in the balcony area; I was below amid the theater seats. I felt done for the day and was about to put away my gear when I looked up at the models standing up and starting to disperse. As they stood up it reminded me of a standing ovation. I hesitate a moment, not feeling like expending the energy to do yet one more shot, but, heck, it wouldn’t take more than a minute or two. I yelled up at them to pretend to give me a standing ovation and fired off a half dozen frames as they did so, and that was that.

The End of a Shoot, And Several Thousand Dollars

I have been in similar situations many times; it is the end of a shoot, I am tired, and not wanting to shoot anymore. Sometimes I will make those last couple of efforts, and sometimes not. But looking back at it now, it is almost invariably worth it. The balcony image isn’t the best selling image from that shoot, but it will certainly bring in several thousand dollars over the course of its effective life…and maybe a lot more. I also know that more than once an assistant or associate has prompted me to take one last shot that has had a similar financial impact.

Extra Effort and Significant Increases in Sales

A while back the creative director at Blend Images, Sarah Fix , suggested to me that I could increase my sales significantly by putting a little more effort into “finishing” my images. They do quite well as they are, for the most part, but she is right in that I tend to get impatient with the images and don’t take the time to really take that extra step that separates the good from the great. I think a great example of someone who does take that extra step is Colin Anderson . When you look at his work it is obvious that he puts extra effort into his photos. Now, as I approach the completion of one of my composite images I think about Colin to inspire me to take the image to the next level. In the long run such extra effort pays off big dividends.

The Most Productive Kind of Effort

“Extra” effort is the most productive kind of effort, and is never wasted. If you can build the habit of extra effort, whether it is in servicing a client, squeezing the most out of a shoot, taking your images to the next level, or even maintaining a sales performance database, then I believe your success is guaranteed.

Stock Photography, Assignments, And No Magic Bullets

There is no magic in financial success in photography, whether it comes in the form of Assignments, Stock Photography, or some other venue, success comes from paying attention and plain old hard work.

Artists Reps, Assignments and Magic Bullets

A photographer friend of mine has been interviewing reps lately. He is one of the many stock shooters who have decided to hedge his bets by going after assignment photography. He is hopeful that a rep will be the answer to his problems…the “magic bullet” if you will. I used to think a rep would be the answer to my problems too. Now, having had a number of reps during the years that I was an assignment shooter, I would say that for me a rep was part of the answer. My reps were great, well better than I, at negotiating. Did they get me a ton of work? No. They did constantly push me to promote myself via sourcebook ads, mailers and such, produce new work for the book, come up with new and expensive portfolios, show my book, and, in short, do what it takes to get those assignments. So yes, they were part of the answer.

Doing The Things You Don’t Want To Do

I am constantly trying to figure out what dramatic thing I can do, what magic bullet I can find, to catapult my career to a higher level. I find it amusing that I constantly engage in such thoughts when I know full well that there are no magic bullets. Success, as with that old parable of the tortoise and the hare, comes with hard work and perseverance. It comes with the self-discipline to do the things that you don’t really want to do, to make your business a strong and healthy one.

Financial Success, And Working A Little Bit Harder

If there is a magic bullet it is in knowing that success comes with working a little bit smarter, and a little bit harder, than your competition; and in taking those extra steps yourself. A career is built on building a strong foundation of good habits, attention to detail, setting goals and putting one foot in front of the other until you reach those goals. It isn’t about what kind of camera you use, though it is in doing the research to make sure you have the right tools for the job. Success in photography, at least financial success, isn’t about pretty pictures, but making pictures that are needed. Success isn’t in getting photos on to flickr or iStock or Shutterstock or even Getty, but in knowing the best distribution for your images and in doing whatever it takes to get that distribution. Success comes from that ten percent more effort that you put in after everyone else has gone home.

Learn From The Crowd: Stay True To Your Own Vision

To reach the highest levels of success you need to walk a thin line between the strength of your own vision and the feedback and knowledge that is offered by clients, peers and other industry professionals. Observe and learn from the crowd, but stay true to your own vision. Above all, you have to continuously develop and nurture your own creativity.

Assignments, Additional Revenue, And No Easy Task

I told my friend who is looking for a rep that adding assignment work into his career is probably a good move. Assignments will bring him additional revenue, stretch him as an artist, and provide even more fodder for his already successful stock career. I reminded him that getting assignments is no easy task, requires dedication and investment, and takes time. It is every bit as difficult to succeed in assignments as it is in stock. In either case, there are no magic bullets.

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!

In Vigorous Pursuit of Creativity

To help stimulate your creativity explore opposites, imagine a twist; look at images in a different way. What is, for example, the dark side of social media?

An Ocean of Images, Monetary Gain, and Personal Satisfaction

Few things can be as rewarding for a photographer as the vigorous pursuit of creativity (love that phrase...read it in the latest issue of CA). Creativity is key to creating work that stands apart from the vast ocean of images and subsequently has value both in terms of monetary gain and in terms of personal satisfaction. Creativity is also extremely important in conducting business itself, in finding ways to get your work completed, in finding ways to get your work seen, and even in finding ways to get paid!

Maximizing Creativity

With the importance of creativity, the question arises: How can we increase and maximize our creative propensity? Is there a way to nurture and grow this all-important quality? If you Google that question, the answer is yes; and there are many theories about just how to do that. I have tried a number of approaches and will share the ones that seem to work for me.

Intention: The Most Important Step

The first and most important step to building your creative powers is to have the intent. While I have my doubts about a lot of new age practices, I do believe there is something very powerful about writing things down. For me, the first step towards creative empowerment is writing down my intention to build my creativity.  I go through phases where I will write down an affirmation that "I am a creative powerhouse with an infinite supply of new and potent ideas", or something like that. OK, I know it sounds a bit silly, but I do believe it works! Even better, write down how many ideas you will come up with. The more specific your ideas the better, even to the point of allocating ideas for images and ideas for building your business. I have to admit, I am a little sporadic with this process, but when I find I am running low on ideas, it is my first step to getting back on track.

Creativity, Judgment, and a Master List

Creativity is a muscle. It gets stronger with exercise. So the next step is to start coming up with ideas. Remember, judgment is the enemy of creativity. Don't judge your ideas yet, just come up with them, and write them down. I guarantee you that if you don't write your ideas down they will slip away, just like dreams do. I keep a notepad and pen with me at all times to record my ideas whether they are spontaneous or otherwise. I can't tell you how many times I have learned this lesson over and over again! Keep a master list of ideas that you never throw away. An idea that at first seems great can seem really stupid the next day, yet a week, a month, or even a year later it can rise to the top again, or generate another idea. I have learned to keep even my silliest ideas on paper (or in pixels).  Sometimes ideas that you just can't figure out how to do, or how to do economically, suddenly reveal themselves as simple executions when viewed after a lengthy time period.

Look at the Opposite, or Add a Twist

Another favorite exercise of mine is to view an interesting photo or image, mine or someone else's, it doesn't really matter, and see if I can either do the opposite, or add some twist to it. For the image above I pondered the hot topic of social media. The buzz is about the benefits of connectivity and visibility through social media networks. I made a conscious decision to explore the opposite of the benefits, to look at the dark side if you will. What came to mind was the possibility of having a lot of people pissed off at you. How could I illustrate that? Angry people’s faces, looking out at you from inside the computer, from the social media site; that would not only communicate the downside of social media, but also infuse it with humor as well.  It makes for a great counterpoint to the positive images of social media  that I have already created. It is surprising how often looking at the opposite side of an idea can take you in a new creative direction.

Rising above the Crowd

Creativity is your ticket to rising above the crowd (sourcing). It is something you can strengthen and cultivate. Set the intention to be more creative, practice coming up with ideas, write your ideas down, add a new twist or look for the opposites and give your ideas time to mature. If you make creativity a constant part of your life both your career, and your life as a whole, will improve.

CS5, Fear, Creativity and Success In Stock Photography

I believe that if I create photos that satisfy me creatively and fulfill a need in the market place, there will be buyers that value them enough to provide me with the money I need!

Now Everyone Can Do It....
A few nights ago I attended an Adobe presentation about Photoshop CS5. As I sat there watching them demonstrate new technologies that makes painstaking tasks into a snap I first felt a bit of despair that we are taking one more large stride towards making my hard-earned skills less unique. Each technological advance takes away the advantages that I have over newcomers and amateurs.  Each time the presenter showcased a new or improved tool the audience broke into applause, which I weakly joined, while inside I thought to my self  “Just great…now everyone can do it”. Luckily I managed to get out of that frame of mind before the evening was over.

New Technologies, A level Playing Field, and Fear

The technologies are indeed leveling the playing field of photography, particularly stock photography. They are making time-consuming and laborious tasks much faster and easier. And that really is a good thing.  I love that kind of progress when I am not caught up in fear…fear over increased competition and fear of change.  Getting into this place of fear is easy for most of us to do…and it is a deadly place. It leads us into inaction and a whole host of negative emotions. Negative emotions, among other things, are not particularly fun. I prefer to be an optimist because, if for no other reason, it is a lot more enjoyable! 

Shifted Thinking and Creativity

So rather than giving in to that fear the other night I made a conscious decision to shift my thinking.  I reminded myself that the ability to create images, that is, to do the technical work, has been decreasing in importance for years now as the technology takes over that burden. What is becoming ever more important is creativity. Creativity in everything from how we run our businesses to what ideas we come up with for our imaging projects.

The Importance of the Idea

A good sound grasp of the tools certainly is an advantage over a less disciplined approach, but isn’t the idea or concept that we are creating ultimately far more important? A great idea executed in a mediocre way is stronger than a mediocre idea executed with technical aplomb. At least I am proposing that that is the case in the world of stock photography.

Lost Momentum, Fun, and Productivity

If I get caught up in worrying about the competition I lose momentum, I have far less fun, and I am less productive. So I mentally shifted to thinking about all the cool things I can do with these new Photoshop improvements, how much easier my images will be to make. I reminded myself that the most important on-going project I have is to increase and hone my creativity.  I pictured some of the images I have on my to do list now…and how the new PS advancements will help me accomplish them.

Creatively Satisfying Images and Money

I left the presentation feeling excited and eager to dive into CS5, not because CS5 itself has been improved, but because it will help me create my images. I also left with a clear and strong mandate to work on becoming more creative and more imaginative. And I left with an understanding that more creativity and imagination will not only help my bottom line, but it will make the non-monetary rewards of my career that much more satisfying. I am not in stock photography just to make money, or to make more images like everyone else. Sure, those images will happen, and to some extent need to for cash flow reasons. However, one of the most important reasons I am a stock photographer is to be able to create images that are exciting and interesting for me . There is no doubt in my mind that if I can keep making images that are creatively satisfying for me, the money will take care of itself.

OK, off to install my new CS5 upgrade!