Stock Photo Project: Voting Images

An elephant and a donkey serve to represent democrats and republicans in this humorous political stock photo.

A Request For Voting Images

My editor at Blend Images recently asked me to come up with some images centered around elections. I agreed, not so much because I think there is a lot of money to be made, but as a part owner of Blend I do think it is important to be supportive of the company. I think that at least some of you readers out there might be interested in my process, and so beginning with this post I am going to share this project with you.

Donkeys, Elephants And Politics

These days one of the critical aspects of creating images for me is finding ones that I am actually interested in doing. I have gotten too old, complacent and persnickety to spend any significant time on images I am not into. Oh well….  My first task, then, is (was) to come up with some ideas.  A while back I had created an image of a donkey and an elephant in a face off as a political stock photo. That one I had submitted to Corbis. But the idea of using a donkey and elephant seemed like a good starting point for me.  The ideas that came readily to me included a Donkey and Elephant voting, with their rear-ends protruding through the curtains of voting booths, and an elephant and a donkey debating on stage.

Voting Machines And Cool Images

Next I asked myself what are issues surrounding elections? Politicians on the stump all seem to be advocating change? How could I show that? It struck me that one of those collapsible voting booths, show against a sky that is changing from light and upbeat to stormy and dark could well communicate the concept...and look cool as well. Another idea that popped into my head was to show such a voting machine with money pouring out of it. OK, none of these ideas are going to set the world on fire…but for whatever reason, perhaps because I thought I could at least make them look cool, I decided to get to work. More ideas would probably come as I progressed.

Donkeys And Elephants In Voting Booths

I started with the donkey and elephant in the voting booths. I found the elephant I needed in my archives from a shoot in Thailand. The donkey image is actually one that my partner, Stephanie, shot in a zoo.  I "Googled" voting booths to get a sense of what they look like. Most of the ones with curtains used red, white and blue striped cloth. Being the stingy dude I am, I pulled out an American Flag I have and photographed it in the necessary configurations to use as curtains. I used a Hue and Saturation layer to turn every other red layer into a blue one. I used the pen tool to create a clipping path (and then selections) around the parts of the flag shots I needed, then used the liquefy filter and transform>distort to create the curtains in the positions I needed. I also photographed one of those collapsible voting stations. I used the legs from the station in combination with the flag shots to create my voting booths.

Elephants, Donkeys, Photoshop And Reflections

Next I used the pen tool to create selections around the donkey and elephant, then used “Refine Edges” to deal with the fur.  I also photographed a local gymnasium figuring it would be a good background for voting booths.  I put the images together, then duplicated parts of the animals and the legs of the voting booths, flipped them vertically, added layer masks, and faded the flipped images away, creating “reflections” on the floor.

Lose the Gym, Add White And On To The Next Image

When I finished the image the gym just didn’t work for me. It seemed too busy. I added a white background layer above the gym layer to see what would happen. I really liked it! It looks like the voting booths and animals were shot on white plex. Having the image on white makes it easy and versatile for people to use.  One down…a bunch to go! I will cover the next image in a future blog.

Crafting A Concept Travel Stock Photo

Going through my "Idea" folder of images resulted in this composite image illustrating travel concepts.

My Next Project And An “Ideas” Folder

Sometimes I find myself in front of my computer, having just completed an image, or series of images, but before having had a chance to figure out my next project, and still wanting to create a new stock photo.  At those times I turn to my “Ideas” folder.

Interesting Images With No Immediate Use

My “Ideas” folder is one in which I put interesting images, that I don’t really know what to do with, as I edit shoots or run across them looking for composite parts.  In that folder you can find patterns, portraits, background images, interesting light experiments, landscapes…whatever images strike my fancy, but that I don’t have an immediate use for. 

Perusing Photos And Finding Solutions

A few days ago I found myself in just such a situation…between projects but wanting to jump into making an image. As I perused the photos an image of light reflecting off of water caught my eye. A use for this image  (probably from a swimming pool shoot…but one that I no longer remember) has long eluded me.   This time, however, I believe I came up with a solution…or two.

Stronger Concepts And Multiple Uses

I could have submitted the image as a background image pretty much as it was, but I really wanted to take it to another level. What I was looking for was another image I could use as a reflection in the water and that would make for a stronger concept… one that had a legitimate shot at multiple uses.

Pretty Pictures, Tropical Vacations And Room For Headlines

I found the image I was looking for in a shot of tropical clouds from a trip to Hawaii. I faded the clouds into the water. Adding the clouds transformed the image from pretty reflections in water to a tropical vacation scene. I felt it still needed one more element. A silhouette of a commercial jet completed the picture. Now the image speaks of travel, adventure, vacations and getting away from it all.  There is plenty of room for copy and headlines, room for inset destination photos, and can be cropped square, horizontal, vertical or as a banner ad.

Many Uses, Similar Versions And Royalty Free

My gut instinct tells me it is a royalty free image: It can have many uses and isn’t a difficult image to produce.  Further, I believe that a version without the jet will also be useful in the marketplace and as an RF image the two similar versions won’t be a problem. Now the only question is…should I have had a suntanned, bikini clad woman swimming through the water? Hmmm, maybe I’ll take another look in that “Ideas” folder….

 

"Interesting" Trumps "Real" In Advertising And Editorial Concept Photography

I photographed this body builder against a black background in my studio, then used Photoshop to strip it into the sky image. Even though the lighting isn't "realsitic", the image works for a concept photo about strength and power.

“Real” Photos And An Epiphany

When I first started taking pictures I was a strong believer in “real”. That is, I didn’t believe in filters or other “tricks” to enhance photos (this was in the early 1970s waaay before digital). I doggedly held onto that belief for many years. My epiphany came one day when I was thumbing through a magazine and a picture of a runner jogging along a trail caught my eye.

The Image Is The Most Important Thing

The runner was obviously lit by strobe light even though she was on a trail outdoors. My first reaction was my typical one, derision that the photographer had resorted to such an artificial technique. But as I continue to leaf through the magazine the image stuck in my head. I realized that the image was more interesting, more “alive”, than any of the other shots in the publication. That was my “aha” moment. Journalism aside (now there is a whole other can of worms), I realized that the image was the most important thing, not how it was made and not whether it conformed to reality. In commercial photography the image is there to grab your attention, and it is pointless to argue about how the image was made and whether or not it is “real enough” if it does its job and grabs your attention.

Reality Is Less Important Than Interesting

So here I am decades later, and every image I touch gets clobbered in Photoshop. When compositing images digitally, which is pretty much all I do now, I will also add that reality is less important than “interesting” with one caveat. That caveat is that the image must work. Sometimes that means adhering with all the little details, lighting, shadows, perspective and so forth, that make an image look real. Other times though, the image is far more effective if the lighting is more dramatic than reality, or the perspective is different than what one would encounter in an un-manipulated photo.

Enhanced Reality For Advertising And Editorial Concepts

A common technique I employ is to add rim lighting on subjects stripped into a new background in scenes that rim lighting would not exist in. Done well, the images work better than with “real” lighting. The key here is to make the changes subtle enough that the illusion of reality is not interrupted.  You end up with “enhanced reality” that for advertising and even editorial concepts works better than plain old “real”.

Its A Jungle Out There!

You can see the world as a dangerous jungle full of risk, or as an adventure to be lived to the fullest.

It’s A Jungle Out There

As any photographer knows, particularly stock photographers, it’s a jungle out there! The world of professional photography is filled with peril. There are evil stock agencies wanting to gorge on you. Other photographers are stalking your clients. Internet vultures hungrily eye your images. And yet yesterday, as I was creating my own “jungle” image replete with dangerous wild animals, I realized how happy I am.

Image Demand, Technology Advances, And The Internet

Despite all the challenges and adversity that we photographers have to confront on almost a daily basis, we still have it pretty nice. Images are in demand like never before. Technology is on a relentless march to make things easier and easier for us. The Internet lets us send our products nearly instantly anywhere in the world at the touch of a button, and if you need to know something…just ask Google (or one of the countless forums out there). And we are free to choose the agencies that work for us and/or pursue other avenues of photo-generated revenue.  Photography is a giant playground and we get paid to play in it!

Playing By The Rules

Of course, if we want continued access to that playground we do have to play by the rules. What are the rules? One, be creative. What could be more playful than being creative? And to keep your playground privileges you have to create images that aren’t like the ones already there. Two, have fun. If your not having fun you will never be able to keep up the pace necessary to earn a living, a decent living anyway, in photography. Finally, you have to produce. If you don’t finish your images and get them in front of potential licensors, some other playground bully is going to take your place.

Dedication, Work, Disappointments And A Wonderful Life

Okay, realistically it isn’t all fun and games. It does take an enormous amount of dedication and work to succeed in this business. You have to put up with constant disappointments. But if you can make it work, what a wonderful life it can be! I remind myself every day to be grateful and to enjoy my process. Recently I started reminding myself to even enjoy the failures, the times when my images don’t work and get rejected, when models don’t show and when sales reports come in low. It may be a jungle out there, but it is full of life and adventure and shouldn’t be missed!

Unique Imagery: The Challenge of Stock Photography

Success in photography requires getting out of the trap of creating images that look like all the other images.

Unique Imagery: The Challenge of Stock Photography

One of the challenges of stock photography is in creating unique imagery. Over the long haul, if you fail to strike out into new territory in the creation of your stock photos your career will suffer. Failing to create unique imagery will lead to the cannibalization of your own images and is a likely road to burn out.

Shooting What You Want When You Want

I have had more than one friend who has produced stock like crazy for a few years and then given up on stock altogether after getting sick to death of shooting the same thing over and over again.  For me, one of the biggest reasons for being a stock shooter is that I can shoot what I want when I want. The opportunity of shooting a wide range of images, and the freedom of letting serendipity take me where it will, are both vital factors in my ongoing success as a stock photographer.

Growing Collections And Dropping RPIs

Producing the same kind of images over and over will lead to lower income. It is a proven fact that as collections grow the RPI of that collection drops. It only makes sense; similar images will be competing for the same dollar. In addition, with a drop in RPI, the collection as a whole will inevitably fall in the search results of most collections even further eroding your revenue.

Intangibles, Little Details And Second Rate Images

It can be very tempting to recreate those best sellers, whether they are your own or someone else’s. That will probably just result in more of those similar images. Looking at best sellers can tell you what kind of images are needed, but copying them practically guarantees that you are producing second rate images. The intangibles, the little details, that make an image into a best seller, are seldom present in the second go around. At least, in my own experience, I have a dismal rate of success of creating new versions of my own best sellers. I am much better off setting out into new uncharted waters for image ideas.

A Strategy For Making Stock Photos

Part of my strategy for making stock photos revolves around creating images that fill a clear need and are different from what else is already out there. Sure, I create my share of executive portraits, business meetings and so forth, but the real thrust of my work is trying to come up with unique, compelling images that stand out from the crowd of work already out there. I may not always succeed, but the journey is interesting and I have been lucky enough to find some rewards as well.

Unique Images, High Goals And The Health Of The Stock Photo Industry

It is a lot of work to come up with unique images. Such photos can be the result of incredible locations, inspiring models or visionary scenarios, all of which require more than the ordinary amount of effort. But in setting your goals high and striving to fulfill those goals, you can avoid burn out, increase your income and contribute to the health of the stock photo industry as well.

Interview With Lewis Blackwell, Director of Strategy for Image Source

"...once you see creativity as the key aspect of your work, then you might not be constrained by the photographic medium." Lewis Blackwell

Lewis, you spent many years as editor-in-chief of Creative Review, for eight years served as Group Creative Director with Getty Images, and now are Director of Strategy for Image Source. You have also produced a series of very impressive books including The End of Print, The Life & Love of Trees and Photowisdom.   

Can you give us a brief overview of your journey into the graphic arts world on through to your current position with ImageSource?

I studied English and more arcane stuff, then got my hands dirty training as a journalist (you’ve heard about UK journalists) before specialising in writing about applied creative fields such as architecture, design… and photography. I was one of the founding editors of a title called DesignWeek and then took on Creative Review. I consulted with some great organisations in advertising, design and publishing areas as well. The rest you have summarized. Joining Image Source has given me the opportunity to work with very nice and smart people on a whole new range of innovations that we would like to bring into the stock industry. If anything holds this all together, it is that I see myself exploring and enjoying the communication arts, making a living and having fun doing something that I think is on the plus-side of our civilisation.

I am convinced that creativity is an increasingly vital part of the photography business. As creating images gets easier via technological advances, creativity, more and more, replaces technical ability as a route to success. Do you have any suggestions on how we can increase our creativity?

I agree – photographers own less of the means of supply in terms of equipment and craft, so it really comes down to creativity. I would add to it that once you see creativity as the key aspect of your work, then you might not be constrained by the photographic medium. The line is shifting between photography and film, or between one kind of photography and another, between different roles in shaping media. Photographers would do well to ceaselessly question their craft(s), and to seek to apply their creativity in whatever medium best serves. But for a more practical tip on creativity, I recommend simply making sure you do something different with your life and work – for example: changing who you work with, going on holiday, deliberately shooting a subject that you have no expertise in but a strange curiosity about, asking somebody else to tell you what they dislike about your work and then considering if you can remove those obstacles... all these changes are about getting some searching feedback into your work. Photography can be quite a solipsistic activity otherwise. Great photographs surprise us with seeing things differently – so great photographers need to endlessly find ways to see things differently.

Where do you get your inspiration?

People and places, in that order. People: some that I know very well, some a little, and many that I don’t know at all but I get to take something from how they look, act and communicate. I wish I were systematic in my appreciation of all that they have to offer. Places: travel, whether far or near, is vital to me. I am just back from the Scottish Highlands, and so now I dream of what it might take to restore the Caledonian Forest, while still sparkling with the sensation of a swim in Loch Ewe, and fascinated that my prediction that such remote places might increasingly be at the centre of things was immediately borne out by the arrest of a demon 18-year-old alleged super-hacker in the Shetlands.  Power is devolving! Well, perhaps. I also read a lot… and increasingly make a very concerted effort to read long-form writing and also to look at things in a long-form – don’t flick a book of photographs, but give it time. Really look at one picture or object that interests rather than surf endlessly. I don’t really want to entertain myself seeing more superficially, but to challenge myself to see things in more depth. 

 What is the biggest mistake you see stock shooters making?

A common mistake is to be simplistic about the return and the risks and to then use that as an excuse for doing derivative work, or staying out of the market, or complaining when your personal work doesn’t sell as much as you blindly hoped. It is a particularly tough answer because it doesn’t really help the reader. The only way you can get over the problem is by taking risks that you can afford, being optimistic and at the same time skeptical, and moving fast to take opportunities, or to learn from experience. All a bit general I am afraid as different photographers face different challenges in making sense of stock.

Is stock still a viable option for photographers?

This depends which photographers we are talking about. It can be very rewarding both financially and in the lifestyle it helps support. A great many new recruits to stock photography around the world attest to its appeal. However, the changes in the industry and the shifting dynamics of how a set of images will return can make it off-putting for those of a more conservative mindset who measure things by how things used to work. But if you have difficulty in responding to change then you will find it hard in most areas of culture or industry.

Even after shooting stock for over twenty years one of the most vexing problems for me is to decide where to place an image. How the heck do you decide whether an image belongs in micro, RF or RM? What are your criteria?

Tricky question and, again, I have no simple answer. The variables of the kind of work and the best distributor partners available will affect whether micro, RF or RM will work for the photographer. You shouldn’t simply assume is that micro is cheap, RF is in the middle and RM is expensive – clients can spend hundreds of dollars in a microstock site on an image, and they can get RM cheaply.

The larger question is the kind of offer that collectively we want to bring about, the kind of business we want to take part in. At present clients often don’t care about the license type or even the price, as long as it is affordable for the specific budget: they care to quickly find and be able to use a picture. As a photographer, there may be more in this than just assuming you are chasing the best $ return. You should be choosy about the kind of people or businesses you work with. After the period of commoditizing there would seem room in the market for offers that give customers some real choice and values that they care about. I don’t get the sense that customers really care about or care for some of the companies they do business with today. So this has to be an opportunity and photographers can help the change. How can we improve? It’s going to take another little revolution...                      

Can you give us suggestions on how to go about determining where the “holes” are in a collection, or just plain what to shoot?

There are many holes out there – some are curious niches that are very poorly served, some are very popular areas that need new treatments. At Image Source, I could reel off a few categories where we are working hard to meet both perceived need for renewal and extension of choice, while there are also areas that are more specialist but I know would sell if we had good images. But a general rule that many photographers struggle to get is that a successful image, a successful shoot, is one that has a lot of great concepts in it (rather than being simply illustrative) and also avoids ‘picture killers’ that limit the usage or will make the image date quickly. 

Do you see Internet searches playing an increasingly large role in stock photo searches?

Yes and no. Google may be a popular starting point for many perhaps less-expert buyers of images; and it could become more popular if the industry is poor in creating a next-generation search experience of its own. But the client should get a better way of finding images and service around images than Google could ever be bothered with.

Do you think it is helpful for a stock shooter to develop a brand?

We all have a personal brand, from the point at which our parents give us a name. The question for photographers is what kind of brand they want to have. Most photographers I know who shoot stock do not necessarily want their brand strongly associated with that. And I agree: you should be a photographer first… how your images reach the market and the production structure behind them is incidental to getting across the message of how good the images are, or how responsive you are as a professional partner, and so forth.

Are tablets coming to the rescue?

They are not rescuing anything, but they are another platform or tool that has to be considered. There are some clients that are really best reached by tablet-friendly sites. That is becoming an increasing influence, as are smart phones, on how we shape image sites. And as a tool for photographers to present their portfolio or a project, the tablet is excellent.

Some photographers have succeeded by producing copious numbers of images and with a high level of production value. Others of us have done well by focusing on more unique images. In the coming years what kinds of strategies do you think will work well for stock photographers?

Both models, and points on the scale in-between, have validity. But they are also fraught with risks that need to be assessed against the work and investments made into it. There are a lot of shooters cranking out quantity and sites are increasingly seeking to get out from under this inundation of content. It is not good for customers, or agencies, to be hosed down with endless images of a high-production but low-creativity nature. And while ‘more unique images’ appeals to the creative in me, if your few gems are hard to find or positioned out-of-place then they will not sell and you will starve. So you need to know your market and get better exposure than the competition.

What it is that we stock shooters would do well to pay more attention to?

First, know as much as you can about what earns the money… and accept that you may not want to chase the most high-yielding areas. You may value your soul differently. But don’t expect to be paid well for what you are interested in if that is not what the market wants. You need to be as highly informed as you can be about risk and return and then it really depends on what kind of photographer you are or want to be. Some are doing well by moving very fast to crank out the latest stuff, refreshing their fairly commoditized offering time-and-again at a price that delivers a RoI. Others have a niche that they serve well with a quality that lasts and is hard to copy. Both are credible routes.
Second, make an effort not to put your eggs in one basket – see how different companies can work for you.  Remember photographers have done much to build the industry as it is and by your actions, which you work for and where you put content, you will continue to shape it. Collective actions will make the future industry.

I know some stock photographers who track their sales by model and believe that the model is key to a successful stock image. I know at least one stock shooter who uses the same model over and over again…for years now, and with great success. Can you share your feelings about casting and models?

That efficient repetition makes sense – some faces have a wide appeal, and some models can really work their potential with a great deal of flexibility. Some models smile in a way that just makes you want to agree with them, while others ooze trustworthiness in a way that goes beyond ethnicity. And as clients are typically looking at an image that works for them, rarely considering how your portfolio has the same model numerous times - as doctor here and mother there and business leader over there – there is little downside. But there is a wide range of humanity to draw on and so I would encourage photographers to keep the gene pool of models developing. 

Do you shoot stock, or have you ever considered shooting stock your self?

I don’t. I am much more interested – and more expert and experienced – in building and delivering strategies for creative work to thrive in commercial applications. 

Oversupply and the low prices of microstock have brought the price of all stock images down. iStockphoto has been raising its prices largely through the introduction of higher-priced collections. I noticed that Getty is now emphasizing the higher cost in production and time in promoting their RM collections. Do you think that the fees charged for licensing stock have stopped their free fall, and do you believe that agencies can boost prices for their higher echelon collections?

In short, yes. The longer answer is that I think we will still see price pressures – that’s the nature of a healthy competitive market – but we will also see companies building more differentiated offerings that can command higher pricings. We have been through a period of aggressive commoditization; now it is time for innovation that can deliver greater value to the customers beyond price. 

With their TAC (The Agency Collection) and Vetta collections, Getty has blurred the lines between traditional stock and microstock. Other agencies are now offering both licensing types on the same site. It seems to me that the big difference between microstock and RF is simply price. As traditional and microstock models continue to merge do you see any repercussions?

Not so much repercussions as opportunities. Prices are rising on leading ‘microstock’ sites, disappearing some of the difference. Prices have fallen in traditional agencies. Image quantities continue to increase but some qualities have been compromised. The customers who spend money regularly (as opposed to those who are really just spending $5 once in a while) want – and deserve – a better experience. Out of the convergence of existing models, along with other factors that are yet to really play out in this industry but will, we expect to see exciting changes. 

What is it that photographers aren’t “getting” about the stock photo business?

I am not so sure photographers are missing that much. I think a lot of photographers really understand – and indeed create – the potential of this industry. Some are very new to the industry, while others are old hands who have reinvented themselves several times over. And there are others who just do cool work from time to time and use the industry as part of their portfolio of interests. All are welcome! Your question is a bit like asking what a supplier doesn’t get about retailing – well, sure there are a lot of new developments out there, but you don’t have to be an expert in all areas to make a vital contribution and get a useful outcome. My general counsel is to work with people and companies that have a good record; work with those that you trust and that you like to work with. Good things are more likely to flow out of a healthy relationship than a poor one.

Stepping away from stock for a moment, I recently purchased your book Photowisdom: Master Photographers on Their Art.  What a wonderful book! It felt very intimate to me…a chance to get a glimpse into the inner workings of some really incredible photographers…actually, a lot of incredible photographers!  

How does the finished book compare with your original concept?

It comes close. Of course, there are things that did not turn out as I first envisaged but then events happened along the way that made it better than I first hoped. I managed to get interviews with most photographers I asked and many were wonderfully generous in their time and consideration of my questions. I have had good feedback on the overall production quality too… which given the challenges of getting the work of 50 different photographers balanced out across the printing, can be a headache. 

What was the most surprising thing that came up for you during the making of Photowisdom?

I think that might be… how good photographers can be at putting their ideas into words as well as images. This despite often having doubts about their ability to say much about what they do. The simple truth is that while I asked the questions and wrote up the interviews, the fine thoughts in Photowisdom are chiefly theirs. But then you would know this polymath nature of the photographer – as a master blogger!

What was the most important thing you learned in creating Photowisdom?

It reminded me, as a sometime journalist, how vital it is to do the research. An interview is usually only as good as its questions. Preparation, preparation. Stephen Shore even required me to sign up to having read various key texts of his ahead of the conversation… which was slightly bossy, but was the right thing because we were able to quickly get to ideas that he really cared about.

Part of Photowisdom is a charitable undertaking. How does that work?

On behalf of the photographers who supported Photowisdom, we made a significant donation to the London-based organization PhotoVoice, along with a share in ongoing royalties, and this helped them initiate a project in Afghanistan. They give cameras to marginalized people to help them raise awareness. In this case, they worked with children in Kabul. You can read about it here http://www.photovoice.org/projects/international/visible-rights-afghanistan-2010

What is your next book project?

I am working on several books where I have had an idea and I am now editing or otherwise helping the publication come about. Some are destined for 2012 publication. There are two projects where my contribution is more demanding and they will take longer… so I am afraid out of superstition, and perhaps not wanting to look an idiot if they don’t come off, that is as much as I will say.

Are there any words of wisdom you would like to leave us with?

I have a great fondness for Bruno Munari’s definition of a tree: the slow explosion of a seed. 

Lewis Blackwell, Director of Strategy for Image Source.

People Are Key In A Concept Stock Photo

People are the key in this concept stock photo illustrating teamwork and human resources.

People And Teamwork Are Key: A Concept Stock Photo

One of the best selling concepts in stock photography, maybe THE best selling concept, is teamwork. But how do you com up with a new way of showing those tried and true concepts…all of which have been done to death? What inspired me to come up with a teamwork image in the first place? I had been looking at my Blend Images sales report and my best selling image for the previous quarter was a teamwork image. Time to do another one!

Skeleton Keys, People and Success

I had been reading a blog about how people are key to success when it struck me that I could create a key, one of those old fashioned “skeleton” keys, out of men and women in business attire resulting in a stock photo about teamwork, human resources being “key” to success, and how it takes people to unlock the answers to so many challenges. 

Casting Is Key

Casting the image was important because in an image that might be used by large corporations to represent their human resources would need to have a wide range of diversity in ethnicities, genders and ages.  I ended up with five women, four men, ages from early twenties to mid sixties, and a very thorough mix of ethnicities.  As is my habit these days, I came up with a variety of ideas for this shoot so that I could make the most of each model. I hired each model for two hours, one at a time, and shot them in my studio using a shot list to make sure I got what I needed. I had each model pose in each position needed for the key so that when I went to do the compositing I would be sure to have some options in putting it together.

Photography Is Key

It was surprising how easy the image was to put together. It reminded me again of the importance of the photography when it comes to Photoshop. I have always felt that photography is much more challenging than digital imaging. If you have the right raw materials, the photography, then the Photoshop work becomes relatively simple. You might say that great photography is “key” to great Photoshop work.

A Teamwork Picture…And The Next Image

While I believe I have come up with a winner with this teamwork image, you just never know. Because it seems to me like the type of image that won’t be used endlessly, and requires a bit more work and investment than most shooters would be willing to do (I hope), I chose to put this image into the Rights Managed category.   Someday I hope to be walking through an airport and see this image on the wall as a poster advertising a Fortune 500 company…but to succeed in stock these days you can’t hold your breath, you have to move on to the next image.