| stion I get over and over from photographers is | | | | from the camera clubs, photography magazines |
| 'what subjects sell best'. | | | | and critique websites. |
| Mostly it's photographers thinking about getting | | | | There is a lot to be said for peer-feedback on |
| into stock photography and wanting to know | | | | your work, but all too often the comments in |
| what subjects they can go out to shoot to make | | | | these forums suggest the 'right' or 'correct' photo |
| the most sales. Unfortunately it shows a | | | | could have been achieved "if only the |
| fundamental lack of understanding of stock | | | | photographer had just done it this way .... " |
| photography and the difference between Photo | | | | Unfortunately in a commercial situation that |
| Subject and Photo Content. | | | | severely limits your options. |
| Your Subject is basically whatever you happen to | | | | While you'll see some excellent images in any of |
| point the camera at to capture a photo. | | | | these forums, chances are they aren't going to |
| Your Content is the way you combine the | | | | be all that commercial. |
| physical elements, the intangible elements and | | | | The best example I can think of is the extreme |
| your photographic skills/techniques, to create an | | | | flower macro. |
| image. | | | | These turn up in all the photography magazines |
| So 100 random photographers could point their | | | | and on all the critique sites. Closer to home I see |
| cameras at the same Subject and chances are | | | | a lot of them in the Membership Applications that |
| you'd end up with 100 photos with very different | | | | come through ... at least half of those we look at |
| Content. Of those 100 photos, my guess is only | | | | have at least one flower macro! |
| about 10% would have real sales potential. They | | | | So it's no surprise that when the average |
| might all be great photos, but in a commercial | | | | photographer is faced with a flower, they will |
| context, content rules. | | | | automatically reach for the macro lens ... because |
| The amateur takes a photo of the subject. | | | | that's the 'best' shot they can think of. |
| The professional uses the content to create an | | | | The funny thing is, I don't recall ever seeing a |
| image. | | | | macro flower shot published ... except in the |
| A good example of this is 'people photos'. Pick up | | | | photography magazines. |
| virtually any stock photography book, or read any | | | | When I think published flower photos I think of |
| articles on the subject on the internet, and you'll | | | | the soft-focus single bloom shot for gift cards, |
| see it over and over ... 'people photos sell'. | | | | the mass of blooms used on seed packets and |
| However, you only need to take a quick look | | | | plant labels, the specimen shot used for text |
| through Flickr or iStockphoto to know that most | | | | books, the detail shot (not macro) that turns up in |
| of the people photos in circulation won't sell in a | | | | gardening magazines ... and so on. |
| million years! | | | | Getting past this concept of the one perfect |
| It's not the Subject that makes the sale, but the | | | | image can be quite simple. |
| Content. | | | | All it takes is a slight shift in mindset. |
| It's not What you shoot that determines your | | | | Instead of approaching each photo opportunity |
| sales potential, but How you shoot it. | | | | with your photographer mindset (what photo do I |
| Once you get clear on that -- once you really get | | | | want to get here) train yourself to look at it from |
| it -- you get a whole new perspective on things | | | | a buyer's perspective. |
| and virtually anything you look at has real stock | | | | Before you even consider the photo possibilities, |
| potential. | | | | stop and think about what buyer-types might be |
| All you have to do is start at the other end and | | | | interested in the subject matter, and what each |
| think about the possible end-users; what they will | | | | of those buyer-types will need in terms of |
| need the image to be and do, and suddenly even | | | | content. |
| the most mundane subject can have 'stock' | | | | As a result you'll usually come up with multiple |
| potential. | | | | buyers types and some very specific information |
| For most photographers making this step up | | | | on the type of content they might need. |
| requires a total reversal of their photographic | | | | Then you can go to work and use your skills to |
| process though. | | | | create images with the kind of content that sells |
| Most photographers tend to approach a photo | | | | over and over. |
| opportunity looking for some supposedly perfect | | | | Try it next time your out! |
| or ideal photo, according to what they've learned | | | | |