The Unfulfilled Promise of Medium Format Digital

The Unfulfilled Promise of Medium Format Digital

By

Russell Abraham

There are stereo speakers that cost $10,000 and there are ones that cost $500. The $10k speakers may sound better than the less expensive ones, but it is a very well trained ear that can hear the difference. After all, we are human beings and not dogs. Our hearing has very well defined parameters and most of us fall within them.

In the world of imaging and printing the limitations are even better defined. We truly live in a world of 300 dpi at eight-bit color. That is the universal print standard for almost every manufacturer of printing devices in the world, from your $100 desktop printer to a multimillion dollar Heidelberg four color offset press. Eight-bit color is 256 gray scale values for one shade of one color. That’s a lot of fine tuned definition. Your monitor at eight-bit color can theoretically reproduce 17 million colors and shades. The human eye tops out at around 7 million colors. So eight-bit color on your monitor has the power to render over twice what your eye can actually see.

When you open a raw file on your computer you will notice that your resolutions are most likely in the 300 dpi neighborhood. It is silly to say, create an image at 900 dpi, because there would be no way to reproduce it. So, in a sense, the mega-pixel wars being waged by high end digital back manufacturers are all being played out on the somewhat level playing field of 300 dpi. A 60 Megapixel image from Phase One’s latest and greatest back is just a bigger picture at 300 dpi. The 12 Megapixel image from your four year old DSLR has the same resolution as the 60 Megapixel back. It just maps out to a smaller image. I shoot architecture, and there is the occasional need for the ability to map out a large image for display. But most of the time my images end up as 5x7 or 8x10 prints in a brochure or RFP. Recently, ASMP put together an exhibit of architectural photography for a national show. There were sixty prints taken by some of the top photographers in the country using everything from relatively inexpensive DSLRs to mega-pixel backs on modified view cameras. All of the images were stunning and the only ones that looked a little shabby were the few that were shot with film. Interestingly, the spec for reproduction on these mural sized prints was 200 dpi!

All of the medium format digital backs are based on a CCD sensor manufactured by either Dalsa or Kodak. The technology was originally designed for space satellite recognizance. Most of the newer DSLR sensors are based on a CMOS technology. The CCD photosite devotes more surface area to collecting light and as a result, does a better job with shadows and the bottom end of the color space. The CMOS sensor is a faster, less noisy, less energy consuming chip. ISOs on CCD chips top out at 800 while the latest CMOS sensors can capture images at an astonishing 6400 ISO. In just the past few years manufacturers of both sensor types have significantly improved performance and image quality dealing with many of the shortfalls of each system. Color quality has improved on CMOS chips and noise has been reduced on CCD chips.

I have done side by side tests of most of these systems with some surprising conclusions. The Canon 5D produced images that were as sharp or sharper than either the Hasselblad or Leaf/Mamiya systems boasting approximately3x the image size. I have taken small cuts of each of these images and placed them here so you can see some of the differences.

Click on any of the images below to see them in full high resolution

Most DSLRs capture at 12 bit color. The medium format sensors capture at 16 bit color. That means each pixel has 62,000 shades of gray from which to choose. This creates the theoretically possibility that your image on the screen can have billions of colors. Remember, humans can only SEE seven million and the display card on your computer can only reproduce 17 million. For all but the most strange applications, 16 bit color is the Red Herring of digital imaging simply because it is a standard that cannot be seen or reproduced.

For a working pro who has spent most of his professional life behind a view camera, I regret the fact that most of the medium format digital back manufacturers have not addressed the most basic issue in any camera design, namely making their products easy to use. Here is a short list of obvious failings that may very soon be the death knell for most of these folks.

1. Auto focus. Yes I realize that you cannot build an autofocus system for a back that is designed to fit onto a variety of cameras, but you could simply develop a software algorithm that could tell you if you were in focus. The technology is based on measuring contrast in the image and has been around for twenty years. Why doesn’t Phase or Leaf just buy it and build it into their backs?

2. EVF concept. This is important and it seems like it has just shot over these guys’ heads. You have to be able to see what you have before you click the shutter and an electronic viewfinder is the way to go. Even high end DSLRs are using them for live view. A small eight inch laptop could do this job handily using blue tooth technology. Here again, this is off the shelf stuff and would make these devices much easier to use.

3. AWB is a useful tool and sometimes a lifesaver, yet no digital back has the option.

4. Proprietary RAW file formats. Almost every manufacturer commits this sin, but the digital back folks would do themselves a huge favor and get out of the software business and leave that to the true imaging software heroes: Adobe. Adobe Camera Raw just beats the pants off any other imaging processing software out there and supports what should be a universal format, DNG. Thirty years from now, when Canon is on its Mark 17 and Canon RAW is CR-10, DNG will still open up those files. Every digital photographer on the planet uses either Photoshop or Lightroom and to pretend Adobe doesn’t exist is just silly.

5. Bigger sensors are overkill. Stop making bigger sensors and start making smarter ones. I cannot remember a time when the makers of photo gear were so out of touch with the needs and budgets of their customers. Most of us have to struggle for every dollar we earn in this challenging market and we need tools that are simple to use, work flawlessly and don’t cost us a year’s tuition at an Ivy League college.

I think it’s important to understand clients hire you for your vision and not your hardware. Since I switched to digital about five years ago, I think I have been asked only once or twice what camera I used. Staying abreast of changing technologies is important, but it is all too easy to get sucked up into a Mega Pixel numbers game that can ultimately be a fool’s errand.

Surviving the Recession

by on Jon Hornstein

This is a challenging time for photographers, as it is in most sectors of the economy. The photo industry was already facing a gloomy outlook even prior to the recent stock market meltdown.

The economy is cyclical. Booms followed by busts are the norm. But for many areas of professional photography this recession is a watershed moment. Print publishing, the financial lifeblood of commercial, editorial and corporate photography, was already rapidly loosing readers and advertisers. The current recession will only accelerate the loss of advertising dollars and hasten the death of many print publications.

General estimates are that this recession will last 18–36 months. Once ad spending does begin to increase again, fewer ad dollars will go back into print and more will go into Web, mobile, games and product placement. Much of the costs of creating an ad campaign that previously went to photographers will instead go to videographers, graphic designers, user experience designers and 3-D modelers.

Of course commercial, editorial and corporate photography won’t disappear. There will still be print publications as well as billboards, bus shelters, brochures and other marketing and promotional needs that only photography can fill. But much of that will be filled with low-cost microstock whenever possible.

These areas of photography that rely directly or indirectly on print advertising will continue to exist for a long time to come. But when the pendulum starts swinging back to more prosperous times, these areas are not likely to see the same opportunities that existed in the past.

Faced with these challenges, what can a photographer do?

Specialize in areas that don’t depend on ad spending such as weddings, fashion, portraits and product photography.
There will be fewer assignments over the course of this recession and budgets will shrink for those jobs that are still available. But some area of photography are more recession-proof than others. Less ad spending means fewer commercial jobs but people will still be getting married, new clothes and products will need to be promoted and companies will still need to document their work. Naturally, not every photographer can do, or wants to do, any type of photography just because it’s where the opportunity lies. But if you’ve done some work in these areas, or have considered it, this is a good time to explore moving more in those directions.

Stay away from any area that can be filled by microstock (i.e. lifestyle, travel, conceptual, etc.)
Even prior to the current economic difficulties, microstock has put extreme downward price pressure on many types of photography. Not only has it absorbed the money at the lower-end of the market but it’s had the effect of lowering the value of much commercial and editorial photography in general. If your work tends to represent “iconic” concepts such as health, financial security, friendship, family, etc., then you are at great risk of losing your market to microstock. Take the time to really look at the images available through microstock agencies such as iStockphoto, Dreamstime and Crestock and evaluate how different (not just better) your images really are.

Learn to shoot and edit video.
Photography is the ideal medium for communicating rich concepts in print. It’s less ideal for the online and mobile worlds. Video, audio, 3-D renderings, animations and other creative mediums are better able to take advantage of all the features of these newer ways that advertisers are using to reach their audience. Even once the economy recovers, few new print publications will arise the replace the many that have recently closed and will close in the coming year. At the very least, an increasing number of assignments will require that both still photography and video be shot, so the smart photographer will get in front of that trend.

Reduce spending in non-essential areas.
Now is a good time to cut overhead and eliminate planned purchases. Do you really need that new lens or digital back? They won’t help you bring in new business. Can you find someone to share your studio or office space? Perhaps share your Office Manager with another photographer as well? But this doesn’t mean you should go into hibernation. Carefully considered spending on marketing and promotion is always money well spent. That leads us to the final point:

Network and market like crazy to make sure that you are not one of the many who will be squeezed out.
Warren Buffet, the legendary investor, has a simple rule: “Be fearful when others are greedy, and be greedy when others are fearful.” For photographers, this means that a recession is the perfect time to market and network aggressively. If you cut back on promoting yourself and your work you will inevitably end up in a worse position when the economy recovers than where you are now. Others will make that mistake and be unable to recover. Make sure that when the recovery finally does arrive you are in the best position possible to take advantage of it.

While there have been short periods of time when it was relatively easy to make a living as a professional photographer (the mid-80s and the dot.com boom are recent times that come to mind), long-term success for photographers has always been a tremendous challenge. This is largely because the economy is cyclical and only those who survive, or even thrive in the hard times are around to reap the benefits of the good times through more than one cycle. We are entering a time that may be the most challenging yet. How you handle the challenge will determine whether you can sustain a career as a professional or are just enjoying what will look like in retrospect a brief burst of success.

To learn more about Jon Hornstein and Creative Touchpoint, visit his website
www.creativetouchpoint.com

This article is reprinted with permission from Creative Touchpoint's Photo Marketing Tips Newsletter. You can read more articles like this at www.tips.creativetouchpoint.com

Copyright © 2008 Creative Touchpoint, LLC. All rights reserved.

Jon Hornstein is the founder of Creative Touchpoint, a marketing services firm that helps photographers, stock agencies and other rights holders market their work more effectively.

Prior to founding Creative Touchpoint Jon was General Manager of Erickson Stock. There he led the company through rapid growth to become one of the leading premium stock photo agencies.
Earlier in his career, Jon was Photo Editor at US News & World Report and at MacWeek Magazine. He studied photography at The San Francisco Art Institute and has taught at The Academy of Art University, Photo Metro Digital Workshops and the Graphic Arts Institute.Jon is a member of the Portfolio Advisory Board at the Art Institute of California - San Francisco and the Industry Advisory Board of Photography Department at City College of San Francisco. He's been a featured speaker at numerous photo and digital media events, including Photo Plus Expo, Seybold Conferences and various APA-sponsored panels on the topics of photo marketing and stock photography.

Adding Video To Your Web Site Can Help Attract New Clients

GOING PRO
Adding Video To Your Web Site Can Help Attract New Clients
By Tricia Gellman Holmes

In the age of the Internet, consumers expect immediate gratification, answers at the click of a button and engaging visuals to capture their attention. As a professional photographer, the demands of your potential clients are no different.

Photographers from all walks of life have been adding video components to their Web sites in an effort to attract new clients, showcase their creativity and create an emotional connection before ever speaking to or meeting with them directly. But, interestingly, only about two percent of the world's professional photographers have jumped aboard the video train.

Many of these are the photographers who are on the cutting edge or at the top of their field, and, as a result, they are leading the industry. For everyone else, this trend seems to take some consideration either because of the technical hurdles you'd have to overcome or because you might be afraid of breaking the bank.

"There are many ways to incorporate video on your Web site and you don't need the technical know-how or a big budget to accomplish this goal."

The truth is there are many ways to incorporate video on your Web site and you don't need the technical know-how or a big budget to accomplish this goal. In fact, most new computer operating systems are built to handle video capture and viewing, and if they do not also include a camera for creating the video, you can easily purchase the hardware and software you need at an affordable price. As a result, the end product can be as simplistic and homemade or as professional and flashy as you'd like it to be.

Attracting potential clients through video
Before we get into the nitty-gritty of creating a video and uploading it to your site, it's important to understand how videos can benefit your business. Photographers are using videos to explain who they are and what a potential client's experience will be like, provide a "behind-the-scenes" look at how they work, and translate their creative ideas into a visual story.

The trend toward photographers using video on their Web sites began with people putting their images to motion by creating a virtual video with audio, moving images and graphics to help tell a story. It was only logical that the wedding industry embraced this trend on the heels of the advent of sites like YouTube.com. Video is now an influential medium for communication and consumers have grown accustomed to hitting "play" and getting all the information they need.

In today's globalized economy, people are not only searching for products local to their area, but they want the best and, if the price is right, they'll go to the other side of the country (and sometimes the world) to get it.

People are also less patient and tend to have less time, so watching three videos to see if they like a photographer instead of scheduling three meetings to evaluate their work is a value add, regardless of whether you are a bride or a busy art buyer. Videos are the perfect solution to creating that emotional connection from afar, and it's not just wedding photographers who have discovered this.

Now, more and more commercial photographers and photojournalists are realizing the benefits of using videos on their Web sites. Photojournalists are using them to help bring their stories to life and commercial photographers are using them to share their creative vision or to provide a further understanding of how they work and what makes them tick.

In fact, videos have proven particularly useful for the commercial photographers, whose job opportunities typically hinge on their ability to work well with an art director. Videos streamline the hiring process, allow art directors to determine if a photographer's style is in keeping with what they are looking for and how well their personalities and working styles might fit with the client's.

What kinds of videos are right for your business?
Much like the three uses for video I highlighted earlier, there are three different kinds of videos that tend to correspond to those purposes, and most photographers start with the easiest (and least expensive) version and work their way up the ranks.

Slide show set to music
For starters, most photographers creep into the video world by setting their still images to music and creating a slide show to help tell their story and showcase their work. This involves adding motion to the site -- while not necessarily introducing video. Examples of this kind of video, in the wedding and photojournalism industries, can be viewed on CHRIS+LYNN's Web site and the Curse of the Black Gold Web site.

[Unfortunately, QuickTime will be needed for viewing this last site. Connected Photographer doesn't recommend QuickTime for video both because you have to download the entire video to view, as compared to Flash streaming video, and because the QuickTime intall download from Apple often comes with other, less savory payloads that will install themselves onto your computer. -Ed.]

Bio videos
The next logical step is to create a video that talks about who you are as a photographer and how you prefer to work with a client. These bios, if you will, can be shot on a Web cam or any of the latest and greatest video technologies on the market, and editing isn't always necessary.

The frequency of real-time videos being posted on the Web has altered people's expectations in terms of video quality, so as long as you have good lighting and speak clearly, the outcome will likely be acceptable. In fact, an unedited video can sometimes help your personality shine through, which makes it appear more endearing and natural. An example of a commercial photographer's bio video can be viewed at on Chase Jarvis' home page.

That being said, however, it is important to note that while you can develop online videos for free or for very little money, it is essential that you always put your best face forward. There's nothing wrong with being quirky and fun, but regardless of what kind of video you choose for your site or how you create it, it's crucial that its quality reflects the brand you want to portray.

Behind the scenes
That brings me to the last style of video photographers tend to use. This is typically a behind-the-scenes look at how a photographer works with a client and what sparks his or her creative vision. It may incorporate parts of the other two videos I mentioned, but is typically longer and of higher quality, so as to present the photographer in the best light possible.

Again, you don't have to spend a lot on a project of this nature, but when photographers decide to invest in videos on their Web sites, this tends to be the product they choose. An example of one of these videos can be viewed on John Griffin's Web site, or you can see how one photographer has incorporated all three types of videos on Garret Nudd's Web site. Unfortunately, Nudd's site tends to require you to wait until everything loads to begin telling you anything, a design that's not particularly recommended.

What factors do I need to consider before starting a video project?
Once you have decided to incorporate video into your Web site, the next thing you need to do is ensure that your current site can support it and, if it can, how you want the video to be viewed.

Some Web hosting sites simply do not allow you to upload videos. If that is the case with your site, that's a deal breaker and you'll have to shop around for a new host (or just host the video portion of your site with a video-friendly service).

Similarly, you need to find out whether or not your Internet service provider (ISP) can support the bandwidth you would be using with a video and, if so, how much it will cost you each month. You want to be sure that the people who visit your site have a quality experience, so if you're hosting your site at a place that is not set up to deliver data quickly and efficiently, you may need to look into a new host or consider the alternatives.

One alternative to placing your video on your own site is hosting it for free on another Web site, such as YouTube, CutFrame.tv (now part of Photography Mentor) or Blip.tv. You can use the embed code to put those videos right on your site, but it will have the host company's logo on it. Depending on what you are trying to achieve, having someone else's branding on your video may or may not work. Again, it all comes back to how you want to portray your brand.

Once you get past that decision, you need to determine how you want to encode the video, if you have the knowledge to do this yourself, and whether or not you want the video to be a streaming or progressive download.

The most common solution is to place your video on the host server and have it play back on the viewer's computer as the bandwidth allows. In this case, which is called a progressive download, people can pause the video to allow it to buffer, meaning that if they have a slow connection they can wait and then experience a clean playback at their leisure.

With streaming video, your video is sent to the viewer's computer only as they watch it, so if they have a slow connection it will be jumpy. This is the future of video playback but, unfortunately, for many people, this still does not deliver an acceptable experience.

The final thing to consider is what tools people will need to watch your video. You may be creating your video on a Mac, in which case it may seem to be a logical decision to post your video in QuickTime. However, you need to realize that people who are using a PC may not have a QuickTime player. What is most common and is used by the likes of YouTube is Flash video. The Flash Player is able to play back most videos and more than 98 percent of computers with Internet browsers have Flash Player installed.

You can also consider providing an embed code, which will allow people to upload your video to their own sites and blogs, and ultimately share it with others. Viral marketing is a good thing, and I would highly encourage this action.

Getting started
I understand that this is a lot of information to digest and that the process probably seems even more daunting after reading all of these options. However, it's not nearly as difficult as it seems and you can probably sort through your fears by making a quick call to a video savvy friend or your Web site provider. Many of the leading photography Web site companies can help you add video to your site without a lot of hassle or confusion.

The next step would be to review some other photographers' videos and see what the competition is up to. There are an array of photographer videos online, and they all range in length, approach, and quality. Once you've fully researched your options, you'll be well on your way to standing out in a sea of professionals and finding new clients with a greater appreciation -- and understanding -- of your work.

Product availability and resources
Visit CHRIS+LYNN's Web site.


Visit Curse of the Black Gold (QuickTime required).

Visit Chase Jarvis' home page.


Visit John Griffin's Web site.


Visit Garret Nudd's Web site.


Tricia Gellman Holmes is the vice president of marketing at liveBooks, Inc. The San Francisco-based company provides fully editable and customized Web sites and management solutions with innovative online tools to help photographers translate their work into effective, online experiences, increase their exposure and share their creative vision.

Crafting a Marketing Strategy

By Ira M. Gostin, MBA, © 2008 www.gostin.com

Photographers traditionally search for ways to let the world know they are creative folks, and then market themselves using the same old methods. It’s time to change the way you think. Now is the time to develop a new, creative and effective marketing strategy for your photography business.

Your marketing has to be innovative, informative, creative and above all, interesting. It’s about presenting yourself in an honest, simple to understand, positive manner that the client can relate to and be comfortable with. And most importantly, it means presenting spectacular images. After all, that’s what your prospective clients are seeking - amazing photography.

Who are you?

Understand who you are as a business first. Then determine who buys what you want to do. Your marketing strategy will follow. Once you identify who you are, make it your marketing message, slogan or tagline. This should be a brief description about what you do: We Photograph People; Digital Food for Menus; Auto Racing the World Over. Whatever you decide upon, it should be a straightforward reflection of you. Your tagline should be concise and consistent with what you are selling.

Who do you sell to?

Now that you have identified who you are, you need to determine who you are selling to. This is best done on paper — a successful marketing strategy should only be a single page. This list of potential clients, whether self-generated or purchased, is your target market. Do some research; find out all you can about the prospective clients and formulate a database. Don’t overwhelm yourself; keep the lists small and manageable. A list of about 25 prospects per list is a good number to begin with.

The USP

Establish your Unique Selling Proposition. Simply put, what is unique about your business? Use this uniqueness to position your business in the market. It is the foundation of your brand. The USP is a time-tested and effective strategy that all businesses use. Look at other industries; what do their tag lines suggest? Look at ads in magazines; see how businesses present themselves. Use these ideas as the building blocks upon which you will sell your own unique qualities and talents.

Your portfolio

When you are choosing images, find unique images that will separate you from the rest of the crowd. It is difficult look at your own work objectively, so ask for help from friends, a portfolio coach or anyone that might be able to assist you. And be sure to show your prospective clients images that talk about you, not what you think they want to see. Accept your uniqueness, embrace it and be as creative as you can be.

Contact materials

Look at your contact materials. They should be professionally designed and reflect the quality product you are delivering. You are marketing to designers and art directors, which means your contact materials need to be professional and creative.

Your marketing calendar

After you have pieced this all together, develop a calendar for the implementation of your marketing strategy. Will you market every quarter? Every month? Who knows what time is best? That is up to you to decide. One photographer did a mailing to 50 art directors every Friday for two months — she was the talk of the town. Decide what you are trying to say, and say it as effectively as possible.

Be committed to the image/brand you are presenting. Be committed to your marketing message. And be committed to your strategy.

Here’s a brief check list:

1. Who am I? (Marketing message)
2. How am I unique?
3. Who do I want to do work for?
4. How will I show them my work?
5. Can my contact materials be better?
6. Are these the most creative images I can show?
7. Who can I get some unbiased help from?
8. How often am I going to send out?
9. How can I integrate multiple components for a common message?
10. Develop your marketing calendar.
11. Think positively and be relaxed.
12. Double check everything.
13. Look up the word serendipity in the dictionary.
14. Stop planning already and do it!

You can’t stop marketing. It must be a part of your weekly routine. All of this work can be accomplished in just a few days per month. It isn’t overly complicated; it just requires your commitment to change. “That’s the way we have always done it,” is a dangerous strategy. Don’t be afraid to change.

Ira Gostin is a marketing strategist with Rand & Associates in Reno, Nevada. A photojournalist turned commercial photographer (and former ASMP member), Ira went through an extensive career change with graduate school, management training at Starbucks and an internship at an advertising agency. Ira now works with small to medium companies connecting their marketing to increased profits. Find Ira on LinkedIn or at www.gostin.com.

Marketing Your Stock Directly to Buyers

Jon Hornstein

It’s becoming increasingly difficult to make a reasonable amount of money from stock sales. There are still some success stories but the explosion of inventory and new sources for stock imagery, and the resulting downward price pressure all present significant challenges for photographers.

Some photographers decide to market their stock images themselves. This can have many benefits. It removes the “gatekeeper” aspect of stock agencies that may not want your work because they already have similar inventory. It’s also a chance for you to make your stock stand out from the crowd. And it opens up the possibility of much greater revenue. But marketing your own stock requires a substantial commitment in both time and resources.

There are many things to consider when deciding to market your own stock. The focus of this article is on marketing, so it assumes that if you want to market your stock directly you’ve already considered the following:

– Whether to use a hosted, turnkey service (such as IPN Stock, PhotoShelter, Digital Railroad, PhotoStockPlus) or build your own stock photo site.

– That you need distinctive, high-quality images that are significantly different from what buyers can find at the dozens of other common sources for stock.

– You are committed to spending a specific amount of your time and money in preparing and marketing your stock images.

The most difficult and expensive part of any stock business is getting your work in front of interested and qualified buyers. To give yourself the greatest chance of success, you should:

Focus on a Specific Market
It’s very difficult to compete head on with the big stock agencies. It’s expensive to address all possible photo buyers as they do, and your relative lack of inventory means that a lot of your marketing effort will be wasted. Your best chance of success is to focus on a specific set of buyers. Oftentimes, the work you do will dictate what that market is. If you shoot outdoors adventure images then your market is outdoor equipment companies and outdoor magazines. Do you have a lot of images from a specific geographic region? Focus on travel magazines and travel companies. The more tightly you can define your market, the easier and more cost-effectively you can address them.

Create a Distinctive Service
Many photographers offer stock for licensing on a “what the hell” basis. Somewhere on their portfolio site it says “Stock” where visitors can see some of the photographer’s most popular images. This is very different than making a proactive effort to market stock. Having a few dozen images on your site that you call stock is not something that will get the attention of buyers. Give your stock offering a sub-brand or its own brand. Make it clear that stock is a serious business to you. Clients can tell the difference.

Articulate Your Difference
Why should someone license an image from you? What is special about your images or your service? There is a lot of “noise” in the stock photo market. What is your brand for stock and what distinguishes it from the competition?

Market Consistently and Use a Variety of Channels
How will you get the attention of art buyers? Most hosted stock photo services attempt to attract photo buyers to their sites. But if you’re serious about getting stock sales you’ll need to drive traffic to your site yourself. Email blasts, postcards and booklets are just some of the ways you need to promote your stock offering. If your work is around a very specific subject (i.e. gambling, horses, rock climbing, jazz musicians) then Google AdWords might be a good way to attract traffic. The key is to be consistent. It often takes repeated exposure to a brand before a buyer will investigate. And photo buyers have different needs over time. The only way to ensure that you hit them at the time they are looking for work like yours is to always be out there.

Remember, buyers aren’t looking for images. They are looking for a service that provides the images they need. They want to deal with an organization that looks to be efficient and professional.

Marketing you own stock can be rewarding both creatively and financially. But it requires creating a brand that photo buyers recognize as targeted and professional. It also means making a commitment to put in the time, and resources to market your stock consistently and effectively.

Jon Hornstein is the owner of Creative Touchpoint, a marketing services firm for photographers. You can read more articles by Jon at
http://photo-marketing-tips.com.

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