Yay ! Our Bounce Rate is 37.27 %

How sticky is your website? Are your visitors hanging around, or are they bouncing right off the page? Lucky for you, there’s a metric for that.

Your website’s bounce rate is a metric that indicates the percentage of people who land on one of your web pages and then leave without clicking to anywhere else on your website — in other words, single-page visitors.


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If visitors bounce, it suggests they either didn’t find what they were looking for, or the page wasn’t user-friendly.

Unfortunately, a high bounce rate is significant, since it indicates that your website visitors aren’t looking for more content on your site, clicking on your calls-to-action, or converting into contacts. And to inbound marketers whose primary goal is to attract and convert website visitors into highly qualified leads for their sales teams, a high bounce rate is obviously some pretty scary stuff.

According to Google Analytics Guru Avinash Kausik “It is really hard to get a bounce rate under 20%, anything over 35% is cause for concern, 50% (above) is worrying”. Low/Good bounce rate indicates that visitor engagement on your site is good.”
There you have it.
“As a rule of thumb, a bounce rate in the range of 26 to 40 percent is excellent. 41 to 55 percent is roughly average. 56 to 70 percent is higher than average, but may not be cause for alarm depending on the website. Anything over 70 percent is disappointing for everything outside of blogs, news, events, etc.

So YAY !! StockImageBank.com has a consistent bounce rate of 37.27. Something our digital marketing team has been effectively achieved.  We believe in the quality of visitors than the quantity, Ours is a  B2B product and irrelevant traffic is of no no use to the business. 

So well done Team !! May more clients come and spend more time with us. A fantastic achievement in times of limited mind-space.

A good info-graphic attached for whose who may like to know more about how to decrease it.bounce-rate-(infographic)


Royalty Free (RF) – What is it ?

Royalty Free (RF)
“Free” in this context means “free of royalties (paying each time you use an image)”. It does not mean the image is free to use without purchasing a license or that the image is in the public domain.

  • Pay a one-time fee to use the image multiple times for multiple purposes (with limits).
  • No time limit on when the buyer can use an image.
  • No one can have exclusive rights of a Royalty-free image (the photographer can sell the image as many times as he or she wants).
  • A Royalty-free image usually has a limit to how many times the buyer can reproduce it. For example, a license might allow the buyer to print 500,000 brochures with the purchased image. The amount of copies made is called the print run. The buyer is required to pay a fee per brochure, usually 1 to 3 cents, for additional prints. Magazines with a large print run cannot use a standard Royalty-free license and therefore they either purchase images with a Rights-managed license or have in-house photographers.


Your imagination will set you apart by Udita Singh

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They say “an image is worth a 1000 words”. I couldn’t agree more. I recently saw an image that pierced me in places I didn’t know existed. It was a picture of a frail old man, a panhandler, standing with a stick for support in one hand and a begging bowl in the other. His head hung extremely low and the people around him in the photograph just seem to walk on past him. Was he invisible to them? My heart just broke.

I wondered. What really is the purpose of this image or images in general?

It is my belief that the purpose of an image then is to be evocative, to haunt you with the unspoken, to alter your state of mind for a brief moment, to transport you to places, to make you wonder, to give you a glimpse of someone else’s life, to capture a fleeting moment, to inspire, to tell a story … the list is endless. Whether you are a hobbyist or a professional photographer, each capture is a once in a lifetime event.

But then how does one distinguish good photography from bad? Coming back to the old man narrative in the preceding section, what I didn’t mention then was the fact that this image was black and white. It was dramatic; it had an arresting center of interest (the subject), the lighting albeit natural – set the right mood and had a strong impact. If the same image was in colour, I believe it would have lost almost all those qualities.

There are certain key elements in good photography in any genre of the art form whether it is stock photography, street photography, nature photography, so on and so forth.

1.      Timing and Composition – Perfectly timed images make for perfect images.

2.      Lighting – It sets a striking mood. And your image will be striking when it’s used effectively. Do not be afraid to experiment with natural lighting.

3.      Editing and publishing – Be selective in choosing your images and pick few to publish. There is sense and satisfaction in exclusivity.

4.      Effects – The right effects can achieve and say a lot about your image.

5.      Consistency – Maintaining the same feel and movement in your body of work, especially individual projects.

6.      Steering away from the obvious – No one wants to see clichéd pictures of sunsets and tourist attractions! Step out of your comfort zone and challenge yourself to see what no one else does! Do not overlook tiny details.

One can write endlessly about the zillion technicalities involved in image making but to me “the” most important element in good photography is that individual’s vision behind the camera lens.

All you really need is your imagination and curiosity to set you apart from the crowd. How far are you willing to go to tell your soul stirring story?

Article Credit : Udita Singh                                                                                      Udita is a dreamer. She works in the creative department at  http://www.StockImageBank.com. A cheerful, bright spot that she is, she is very observant. This ability has created a very honest expression of her point of view on images and photography. We though it was worth sharing with all of you ! Hope it changes the way you look at the image.

Saturation:over-Saturation:Vibrance – a virtual discussion

This is a conversation started by Sugandha Dubey on FB. Saturation versus over-saturation of digital photographs.

images saturation

Sugandha Dubey I see a lot of images everyday. I speak to few photographers too. I have a question that I would like to put up here.
I hope I get some interesting answers to my very basic ” duh sounding” query.
Why do you like to over-saturate your images ?

Udit Kulshrestha Sugandha : Compare an image shot on velvia film and digitally saturated. Velvia will still appear with more saturation…

Ankit Narang Mam as in this digital age there are lots of amateur photographers and they don’t actually know, that to what extent the saturation should be pumped up so that the colors wont bleed out . Plus as majority of these photographers use non calibrated monitors . It looks fine on their screen but actually it is over saturated.

Monica Dawar I guess photographers do it bcoz they believe for the purpose of printing photograph is processed normally but for the purpose of online exhibit over-saturation is required!

Justin Rabindra Good question. I tended to do that (loved the artificially richer colours), though now I’ve started to control myself (I think.)

Saptorshi Majumdar overcompensating for the bleak reality around.

Sugandha Dubey Interesting feedback so far… if this goes well I may carry a post on our blog with credits to each one of u

Sanjay Nanda 1 images shot in raw are usually flat, so saturation needs to be bumped up to normal levels. 2 images shot in jpg are automatically saturated by the camera processor. 3 most amateur photographers usually over boost the saturation for a more impactful image. 4 all new flatscreen monitors are backlit and come callibrated at 9600K, so diaplay images more brightly than normal, making the image look saturated.

Himanshu Sharma I understand where this question comes from. I myself see a lot of oversaturation done on a lot of amateurish images. I myself shoot a lot in Raw format. Raw images are flat, and it depends solely on the editor to turn it into something he/she desires. Saturation is something which attracts the eye ( well to some ), but to an extent. what might look as saturation, might as well be lowered highlights, or darker shadows, or just lowered luminance of the colors. A lot of parameters go into editing these images. Its all in the perspective. Do i, as a photographer want people to see what they already see through naked eyes, or do i want to portray what might be more dreamy, more appealing. HDR photography is another example. Some people love it, a lot dont. It feels so unreal, yet so desirable at times. One perfect example of playing with saturation can be of ashot i clicked few days ago. it was of a sunset/ twilight period. Through naked eyes i could not see magenta/purple colors in the clouds. But saturating those colors itself i was amazed with the results. They infact were present in the raw image, right around the extreme edges of the cloud formation. I might have been random in my thoughts here, but i feel its solely on the perspective. Over saturation in most images is an overkill, but it might bring wonders to an image in certain scenarios.

Udit Kulshrestha Front lit images are contrasty and saturated more than the rest. Principles of light say so.

Himanshu Sharma Another rookie mistake most of us make, is to saturate the entire image, than to saturate the colors independently which need it.

Ravi Dhingra If we are talking of digital art and not photography in its pure form, oversaturation may work.

Md Ahasan oversaturation works…

Akshat Jain Good question Sugandha
A quick tip for fellow photographers: Try to increase the ‘Vibrance’ instead of Saturation in PS or Lightroom.

Sugandha Dubey Thank you Gentlemen. It is a pleasure reading the replies. I am sure there are others too who read it
Can I also request Aditya Arya Dinesh Khanna and Ashish Chawla , Samar S Jodha to give their perspective as well ? Would be nice. Also if we have any body from print experience background in this group may be they would like to shed some light how over saturation impacts printing quality ?

Akshat Jain If one is using a colour managed system, there is almost no difference in what you see on screen and in print.
Another tip: While saving photographs to be uploaded on web, use Save for Web & Devices (Alt + Shift + Ctrl + S) in PS, tick convert to sRGB, embed colour profile, optimized and change the quality and image size as required.

Dinesh Khanna I think most of the points one would make have already been made here. The problem, if one can call it that, lies in the amount, and more importantly, the ease of control available to the photographer to work on the image after its been shot. Saturation and sharpening are the 2 things people tend to overdo while using the sliders.

Sanjay Nanda dont agree with akshat. a CMS does help, but an image displayed on screen does not necessarily have to match the image on print, especially over-saturated colours. it is always the saturated colours that are out of gamut for most output devices. most pros process images in aRGB, the gamut of a high end image printer is even smaller than sRGB and the CMYK gamut is way smaller. also most people cannot view the saturated colours on their browsers accurately, the limitation being the gamut of the monitor, OS, browser and website. so all details in the saturated colours is lost and the saturated areas look flat.

Udit Kulshrestha Akshat : vibrance increase leads to loss of detail in the saturated colours.

Dinesh Khanna I am so glad I dont know a lot of the stuff some of the people are talking about here . . .

Samar S Jodha Dont know what to say here, As Dinesh Khanna said most has been spoken out here. I am still a sucker for my 4×5 film..or the iphone.

Dinesh Khanna Samar even I shoot incessantly with my iPhone. Almost everything I post on fb is with the phone camera and I love the spontaneity and immediacy it allows.
And I find that I use my dslr only for assignments and long term projects like Mothers & Daughters’ and Benaras.
The 4×5, unfortunately, is now just a much loved but distant dream.

Jasminder Oberoi Masters have already spoken about it in detail. As per my limited understanding, first they over saturate may be because they like it that way; second reason could be since they have that liking of colors, they do not know where to draw the line. I being a sucker for colors, never knew where to stop and almost always went overboard myself. The monitor calibration also adds to their woes. Some have shunned Vibrance as a bad option but to the best my understanding Vibrance is a better choice for fashion oriented images and saturation (using selective colors and layers) is a better option for almost all other kinds of images.

Akshat Jain You mentioned that Increasing “Vibrance” is better. Udit Kulshrestha You said it is not. Now we need a tie breaker ?? Anyone ?

Himanshu Sharma Vibrance often affects only colors which might appear milder and most of the time does not affect colors which are already saturated to a point. Saturation on the other hand, increases the color intensity irrespective of what they already are.
i prefer vibrance over saturation any day.

Sanjay Nanda vibrancy is just like saturation, but only a selective saturation booster. it effects only non-saturated colours but has no effect on skin tones. btw vibrance is an apple aperture option, not LR or PS.

Himanshu Sharma It sure is an option in Lightroom. have been using it for an year now.

Sanjay Nanda Oh, sorry. Mixed up with some other adjustment option.

Jasminder Oberoi Saturation bumps all the colors uniformally which means that if a color in an image is already little more saturated than others, it has high chance of looking bad (bleeding might also occur). Where as Vibrance just works on weaker colors leaving the already strong colors alone. It also does not make skin look un natural. IMO its a better option..

Sugandha Dubey IMO = ?@ Jasminder OberoiSanjay NandaVibrance is in PS too ver. 6

Himanshu Sharma * in my opinion

Sugandha Dubey LOL now this one foxed me too  I was wondering what is this new control IMO

Himanshu Sharma haha.. a distant cousin of ISO

Jasminder Oberoi lol.. yes its in photoshop as well..

This brings it to the end of the such an informative and interesting conversation on the page of Delhi Photographers on FB. Thank you Monica and all the gentlemen who engaged. This is shared by www.stockimagebank.com to benefit people from advertising, art, students, photographers, professionals … anyone at large who will gain. If you have more perspective on the same please feel free to add here.

We also found a few more interesting links that may be useful and recommend to read.



3 Tips to make your image more commercially viable !

At StockImageBank.com India, we are constantly asking ourselves. ” What would this picture be used for? and again, more importantly,Will this image make money? The answer lies in the conceptual value of the image and its ability to be used by different clients multiple times for multiple purpose. An image of a dockyard even if it has property release may have limited use.


However, an image of adventure sport ( rock climbing/ para sailing/ bungee jumping .. ) could be used many more times. Reasons ? More conceptual depicting growth, courage, future, direction, independence, fitness, Getting the wiff ?

StockImageBank.com 2 Stockimagebank.com1

Some tips to maximise your shots !

Tip No. 1.
75% of the images selected by our clients are SMILING.
 There is always a place for serious expressions, but those that have concern or gestures that communicate seriousness.

Tip No. 2                                                                                                               Play with different kinds of lighting . Though clean flat lighting is ok for cutouts interesting lighting always engages a creative person and attracts selection.

Tip No. 3.                                                                                                                     Stretch your concepts creatively : you must ask yourself, After doing the base shots, how can I add value by adding others elements? objects like pencils, newspaper, coins, currency, small plants, locks, watches, clocks, flags. How can you add and Indian contemporary flavour to it ? 

Photography is an art and commercial photography is the art of creating images that make brands make money. India is still evolving when it comes to commercial stock photography. I will keep posting my insights to help those who want to explore and monetize their works.

Posted by Sugandha Dubey

Five Tips for Shooting Stock Images

OK, so you have been involved in nature photography seriously for the last few years, and you have started to accumulate a number of quality images. Maybe it is time to seek an agency, or perhaps you would rather self-market your images. In either case, the leap to “stock images” represents a paradigm shift that will require you to totally rethink your approach to photography. Rather than debate the advantages and disadvantages of various types of agencies, this article covers five specific tips for photographers that market their images or are contemplating doing so.

  1. by Bill HornDon’t always shoot for yourself- diversify. 
    It is no longer just about you and what you enjoy shooting. If your intent is to sell images, and you specialize in butterflies or birds only, your market will be restricted to that customer base alone. Expanding your horizon photographically will not only increase sales potential, but it will make you a better, more diverse photographer as well. Embrace each photographic event as an opportunity to expand your portfolio. I once went to SE Oklahoma for a weekend photographing birds. On the way back, a radio communications tower caught my eye, so I stopped and took a few shots. None of the bird images I got that weekend have sold, but the image of the radio tower has sold more than once. There is nothing unique or special about the image; it just happened to catch the editor’s eye on a given day. Not every image you take has to be a nature image.
  2. Vary composition and technique. 
    Editors and publishers are a finicky lot. I learned long ago that it is pointless to try and second guess them. It is better to offer them choices. Let’s say you encounter a butterfly on a nice, clean perch. Make sure your first shot is with him centered and lots of room on all sides – you have no idea how the editor will want to crop the final image. Then, take more shots from different angles, varying lighting conditions, background, and other elements of the image. It is all about choices. Case in point: Note the Red-bellied Woodpecker image. If I posted that image in the avian forum at PM, it would get numerous negative responses such as chopped bird, too much space on the left, etc. But imagine it as a two page spread in a magazine with lead-in text on the left, and you can then see the potential as a stock image.
  3. Maintain technical perfection. 
    Stock agencies want you to submit massive quantities of images; and indeed your goal should be to have thousands of images on file eventually. But, don’t sacrifice quality for the sake of quantity. Each image you create represents you as a photographer. Submit only images that are technically perfect. Prior to submitting, pull each image file into your image editor and zoom to 100%. Scroll over the image and get rid of all dust spots. If the image won’t hold detail at 100%, do not submit it. Be your own worst critic. The client deserves a high quality image; anything less can damage your reputation.
  4. >by Bill HornThink like an editor. 
    While it may be impossible to anticipate the specific desire of any given editor, publisher or client, there are a few things you can do to get a leg up on the competition. Put yourself in their shoes; try to think as they would. How do you do that? Pay attention trends and to what is being published. If you are marketing to a specific entity, such as a local magazine, look at back issues. Try and get a feel for the type images they like. Clients want to sell their products, period! Look closely at images in magazines, and you will often see images that at first appear somewhat mundane. In these type images 70-80% of the image will be drab or out of focus, and your eye is automatically drawn to the 10% of the image they want you to see – that is their commercial intent. As nature photographers, we strive to keep elements of the hand of man (HOM) out of our images. For stock photography, the EXACT OPPOSITE applies. People like seeing people in images, doing things, interacting with nature. So, spend more time thinking like an editor, rather than a photographer when making your images.
  5. Marketing 101. 
    Even if you decide to go with an agency, you still must market yourself. Agency sales will represent only a portion of your sales; the rest is up to you. This is the toughest issue for most photographers; they do not know how to go about marketing their own work. First: be organized and prepared. You photograph a Purple Martin today, and three years later a client asks if you have any Purple Martin images. Will you remember? Maybe, maybe not. Keyword your images and employ any one of the commercial databases available to photographers. Perhaps your goal is to get published in your state’s outdoor magazine. I will offer three ways you could go approach the task: 1). Burn 200 of your best images onto CD-ROM and mail it to the editor. The CD will likely be trashed and never viewed, as the editor does not know you personally. 2.) Create a quality Kinko’s type photo album using the same 200 images, and mail that to the editor. Chances are increased slightly, but when and why will they need your particular images? 3.) Write a 1500 word article relevant to subjects the magazine would cover. Personally deliver the article and album to the editor and introduce yourself in a professional manner. You increased your chances tenfold by cutting his workload. He can publish your article and images will little effort on his part – editors are lazy and love for us to do all the work!

by Bill Horn by Bill Horn

Credit : http://www.photomigrations.com/articles/0706100.htm

We acame across this article by Bill Horn. It made perfect sense to share it with our readers. We hope you benefit from this information and it helps you in creating images that will fetch you revenues.

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10 Tips for Shooting Stock Photos That Make Art Directors Happy

The stigma of using stock is pretty much a thing of the past, and maybe you’ve decided shooting for any number of stock houses is something you’re going to try.

Now, none of these are absolutes — rules set in stone being the last thing a creative wants — but having a general idea of the types of things we look for may help your work sell better.

Some of these suggestions may overlap, and others may be relevant depending upon your situation. A lot also has to do with the agency, and what categories they work on. So in no particular order, here are my 10 recommendations:

1. Shoot what you know.

If you shoot great landscapes, why all of a sudden try medical research and high tech just because it’s popular? Go ahead if you want, but understand that there’s a lot of competition out there already, so your shots of lasers better really stand out. If you do want to try a category you may not have tried before, look at existing collateral in that category in the form of brochures, Web sites, posters, point-of-sale materials, etc. This will help familiarize you with current styles and trends.

2. Know your category.

This goes hand in hand with the first one. When you really understand a category (teens, automotive, cuisine, etc.), chances are you’ll be able to dig a little deeper and come up with shots and angles nobody else can see, especially if you live that category.

3. Don’t shoot just what’s popular.

Sounds contradictory to the mission at hand, which is to shoot stuff that sells. What it means, though, is don’t give me the same thing I can get from 100 other photographers, especially if you know that category like the back of your hand. That’s even more reason to push yourself.

4. Bore me.

Okay, another contradiction. Let’s say you’re shooting hands. Give me a wide range of realistic but natural positions, nothing elaborate. Simple, relaxed hands holding a coffee cup, on the phone, tapping a desk, etc. And close-up too. Please shoot close on a few shots. I can’t tell you how many times I’ve found the perfect position for a hand that was part of a larger shot, but when I went to enlarge it, the hand is grainy or not really in focus.

5. Don’t bore me.

So you covered the boring shot of the engine block. Now, give me an extreme close-up and dramatic POV shot. Maybe shoot all macro B&W. It’s here where if you are shooting a category you know that I want you to really push things and explore.

6. Keep it simple.

Don’t clutter up a shot. I personally respond to things that are clean; leave an area around the subject, too. For example, for a shot of someone walking on the beach, normally you see various poses of someone shot full-figure at water’s edge but without enough sky in the pic or “space” on either side of them. I don’t mean become like David Lean and shoot everything long and epic with man as but a tiny speck in a vast landscape — just don’t always crop nature out of a scene so much. Yes, that’s what Photoshop is for, but why not save the studio some retouching time?

7. Easy on the themes.

This one goes with the last one and is subjective. Now, I can’t make you stop shooting whatever weird fantasy you have going on in your head, but when I see a CD collection on Photodisc with extreme characters, bizarre props and really outlandish color schemes, you’ve pretty much guaranteed that I’ll take a pass. Why? Because the 50 Elvis impersonators standing in a field at night with lit sparklers is just too specific a theme for me to ever use. I’d have to be looking for that from the start, and what are the odds we’d need something like that unless the piece called for it? Very low indeed.

However, this is not the same thing as shooting retro motels, diners or cars, or even a range of someone’s emotions. Say you have a particular lighting style and you’re shooting a series of laundromats. Just keep the scenes simple. Places like that already have enough character without a ballerina on a dryer.

We also don’t need you to do anything “extra” with a funky old Chevy; it’s cool as is, trust us. We want shots simple because, well, we’re going to do something with them ourselves more than likely and we just don’t need anything else messing with that. So get Elvis out of the car, please.

8. Include the entire subject in a shot.

Related to “Keep it simple,” but shoot a range of shots in terms of both angle and proximity. Just like the movies, we like the same type of coverage: wide, medium and close-up shots — all of it.

If you want to focus on the corner of a cool sign outside some Route 66 motel, fine. (Just like we dig old cars, we also like anything retro — like signs.) But back up and make sure you get a shot of the entire sign with plenty of background around it. There’s nothing like finding the perfect shot, only to see part of it missing.

And when you get the entire sign in the shot, please also remember to shoot a straight-on angle of it and not just a low POV off-center that might distort things.

9. Avoid cliches.

Like, businessmen in suits with briefcases running against each other around a track. Let me guess: the rat race?

10. Keep it real.

Have your talent save the bad acting for soap operas. Honest, genuine expressions, please. Real moments where you catch people with their guards down are far more appealing than the shiny happy people R.E.M. sang about. Speaking of bands, find a real band — there are plenty of up-and-coming bands — and shoot them in a real club. Avoid the model who doesn’t know how to even hold the guitar and waves her arm wildly like Pete Townshend.

Article credit : Bill Green


Please feel free to contact us at www.stockimagebank.com for any photography related questions / image creation / photography solutions / still photoshoot / lessons etc. 

You can write to us at contact@stockimagebank.com

Advertising and Stock Photography go hand in hand

Why Use Photography In Advertising and how stock images is serious work !

The Major Purpose of Advertising is to arouse the consumers desire to own any given product. Advertising photography is used to stimulate these desires to an act and purchase. The advertising photographer must illustrate, explain, excite, and help create this desire for any given advertised product. The consumer and/or reader will be exposed to these images in a varied media formats: magazines, newspapers, television, billboards and now even the Internet.

Today’s advertising photographer must go beyond being just a camera technician. There is not a single professional photographer in this field who has not spent long hours and hard work in perfecting his or her technique, both in handling the camera and in the quality of the finished product, the photograph. To command the respect of his clients, and to have his or her work consistently in demand, the advertising photographer must have, in addition to this technical ability, creative vision, imagination, and an ability to capture unique descriptive images on film.

It’s A Team Effort

An advertising photographer rarely works alone, for their talents must synchronize with those of the other part of the team, the art director. Together they must communicate ideas and work together on the final ‘look’ or ‘feeling’ of the illustration. The art director, however, works on other aspects of the advertisement such as the copy, the over-all layout, typography, and the space and media in which the final ad will be placed and seen. The photographer, therefore, must work in harmony with the total plans of the art director, who is responsible for the complete visual appearance of the advertisement.

Every serious photographer who is thinking of entering the advertising field should understand what is involved. The advertising agency, in handling an account, has invested time and money before any project is assigned to the photographer. There have been copy meetings, media conferences, idea discussions, which result in the accepted layout given to the photographer.

Working From Layouts

As a cartoonist makes rough sketches, the art director makes rough visuals or layouts. The art director gets their creative cues from the copy department, account executive or even the advertising client. These cues tell the art director what the ad headline or slogan will be and what the final ‘look’ or ‘feeling’ should be. It is the art director’s job to present the idea visually, usually through rough sketches, to the other members of advertising team. These rough drawings, the layoutsare sent along, sometimes with alternate ideas, to the assigned photographer. The sketches are meant to guide the photographer in the photographic interpretation of the basic idea.

Crude and rough as these visuals often are, the experienced and discerning photographer respects them, works from them, and transforms them into pictures with eye-catching impact. Not all art directors use visual layouts some will direct the photographer without the help of any sketches. Each has his or her own favorite method of working, but every art director works toward one common end: the creation of an ad that will have sales appeal. Every art director assigns a participle photographer to a participle assignment because they feel that the selected photographer will contribute their own unique talent in creating a photographic image. They also assume that the photographer will respect the confidential information with regards to the assignment. To show, repeat, or quote any part of an advertising campaign is an unforgivable breach of professional ethics.

Source Unknown ( if you know the original writer of this please inform we will give due credit )


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Stock Photography Tips: Lifestyle Shots

Have you ever noticed when reading a magazine or flicking through a brochure, how many of the images are ‘lifestyle’ images? Photographs of people doing things, talking to each other, sitting in the gardens, exercising, eating and reading together etc. These kinds of photographs may seem contrived and a bit corny, but they have an important use in stock photography because they add something to the story.

For example, if a magazine is writing about exercising, they can search the stock libraries and find an image of someone of which their demographic can relate to doing some exercise. If it’s a specific kind of exercise, say yoga, it can be an image of that to demonstrate what it looks like.

Same goes for cooperate companies that look for images of people in suits or apparently in business meetings. It’s a good way to convey a professional image or to show what kind of team your company has (young, mature, professional work environment, relaxed) etc.

The benefit for companies is that it’s much cheaper to buy a stock image than it is to commission your own photographs. You get photogenic people and clean, well composed shots.

So if you are thinking of taking lifestyle shots to sell on a stock library what kind of things should you start with?

Well firstly think about the kind of images that people will want to buy – if you can make things a little specific, that’s great too because its more likely to be picked out by people who are working within a niche.

Some ideas include:

1. Healthy Living shots.

These are very popular since internationally, the issue of health, obesity and weight loss is a constant news source. So think about shots of people doing exercise – it could be jogging, weights, yoga, stretches. It could be something with a water bottle; it could be someone in gym wear. It could even be something eating healthy food like salads, or eating something unhealthier like a large burger. Imagine what kind of story that could work for – perhaps a piece of how people are struggling with healthy eating?

Remember when you do these kinds of shots, it’s not actually about getting your model jumping around getting red and sweaty – pose them as you would at a fashion shot, making sure they look polished and there’s no motion blur.

2. Couples

Couples lifestyle shots work well because there are always features and articles concerning marriage, dating and love. In this case you don’t need to actually find a couple, and of course since there are many pieces written on same gender relationships you can even get two people of the same sex together.

In these cases you need to consider a few things – are your models happy with the context of the shot and aware that if someone buys it they can use it for all kinds of uses and articles? Are they happy to pose as a couple with the other person? A professional model understands the score, but if you are borrowing a friend then you need to let them know.

Then look at the couple – do they fit. Be honest here – is one person a lot younger looking than the other?

You can do shots of them together, looking happy but lover’s tiff or argument images also work well – for example a couple together and the woman folding her arms to express annoyance. These work well with women’s magazine articles.

credit : proud photography


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Stock Photo Pricing Help

“Help, What do I charge for…”Remember, you don’t sell a photo. You License (give your permission for) the use of the image.


On photographer web forums, I hear a lot of questions that start out with someone saying, “Somebody wants to use a photo of mine, and I have no idea how to charge…“. One of the first things I recommend is that all photographers register as a Buyer with at least three different stock agencies, for example Corbis, Getty, Alamy, or any other agent that has an online pricing calculator. You can also check prices using the calculator available through my Online Image Archive, which uses the same FotoQuote software I link to below.


 When someone asks you what you charge, NEVER ever evergive someone an estimate or quote right off the bat, off the cuff, or off the tip of your tongue; you are almost always guaranteed to sell yourself short this way. ALWAYS, always, always say, “Let me do a little research, and Ill get right back to you within (time frame).” Then go sign on at one of the stock agency web sites that you’ve already bookmarked, and have set with your cookies for easy sign-in. Do a search for the same type of image your client is requesting of you, in my case, it might be “Yosemite“. Make sure your search will bring up both Rights Managed (RM) and Royalty Free (RF) images.


Once you’ve seen what the agency has, find an RM image, perhaps one that is visually close to your image, then price out the image using their online calculator. Enter in the usage that your client is asking for from you, or as close to it as possible. Make a note of the price the agency charges. Repeat the same process at as many agency or sources you can find. To arrive at what I might charge as a “base fee”, I may first determine what the average price would be, note highest & lowest fees, and what my ‘gut’ is telling me. (yes, that’s a technical & very professional process.) After doing all of that, you should have a very good handle on what to charge, as well as knowing where you stand with your competition. The most important thing is learn how to use the online calculators, and why various types of use(s) affect the rate being charged.

Note; if a client is asking you about a really unusual type of use, and you find no online calculator offers what you need, don’t be afraid to call up an agency and tell them you’re looking to by an image for that use, and could they help give you a price. They’re into customer service. They’ll be happy to help you help your client.

Other Considerations:

Once you’ve determined what a reasonable one-time, Rights Managed license fee might be, you’ll also need to take into account some other considerations which may affect the price you decide to charge. This might include how common or unique the image is; are you the only one that has something like it, or are similar images widely available in Royalty Free or Microstock collections. If so, you should at least consider the fact that your client could purchase the unlimited commercial use of a similar photo anywhere from a few hundred dollars via standard RF sales, all the way down to a just a couple dollars as Microstock RF.

Also, the nature of the use might have some bearing on pricing. For example, if an image is being used as a ‘ghosted’ background where other text or illustrations will be put over the image, I might usually discount between 25% & 50% of the base fee.

Discounts:If a client wants to use more than one image, or use one image in multiple ways, I’ll offer some appropriate discounting for the additional uses. I also offer discounts for non-profit organizations, governmental agencies, and educational institutions that may range between 15% & 50% off a standard editorial or commercial rate, and will vary based on how closely aligned I might be to the particular group cause or efforts. Remember, non-profit doesn’t mean “free”, and non-profits have budgets to pay for business expenses, just like any other business or organization.

On Quoting the Price and Value:

Personally, I’ve been told many times, and I’ve told many, “Never price an image based on the fear that someone else will charge less than you, ‘cuz someone always will. Determine your fair value, know your cost of doing business, and stand by your pricing with confidence. The trick is doing so while being able to maintain the flexibility to serve your client, yet not sell yourself short.

Have a Minimum License Fee:I also encourage photographers to establish some kind of minimum fee, especially if they find themselves hounded by requests for some kind of “Free” use – or the ever attractive, “Free, but we’ll give you a credit line” queries that often come through places like flickr, where people are looking for cheap or free photos. First, acknowledge that it takes time to deal with these people, and your time should have some value. Write a form letter, explaining the time you need to invest in taking, scanning, cleaning, color correcting images, delivering images by email or ftp, invoicing, accounting, an not to mention tracking the use of an image. Then explain you have a minimum fee, something reasonable *for you*. Most photographers might have some kind of minimum billing fee between $25.00 and $300.00.

But will you respect me in the morning…?

You really do need to have something you can say to a potential client that lists your minimum license fee for any type of use of your images. This way, if a client does accept your fee, they’ll always have that respect that you operate your business as a business; professionally. On the other hand, if you quote a fee that is very low, a ‘giveaway’ price, hoping to get or entice more business from a client in the future based on offering extremely low rates up front, you will inadvertently lock yourself into a place where it is almost impossible to raise your rates. If you do try to raise your rates after setting a low pricing bar, the client will have learned (from you) that there are photographers who will give their work away, and they’ll simply move on, away from you, to find the next sucker in line.

If someone really wants to use, or needs your image, and they understand that you’re just being a good business professional, they’ll choose to work with you and respect the rates that you charge. Now not every client may be able to pay, and you may lose some sales, But every single client that does pay your fair rates, starts off being a good client, and generally will stay a good client. A client that will look to take advantage of you from the start of a business relationship will always want and be willing to take advantage of you.


Article Credit :

If you don’t Value your work, no one else will.”~ G. Crabbe / Enlightened Images


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