To stock or not to stock…

I’ve been shopping my book (photo portfolio) around lately, and I was talking to a potential client today.  The client said he’d love to look at my work, because they had a lot of stuff coming up.  Then he said something interesting…  He said, “But lately, we’ve had a lot of clients ask about using stock photography.  We’ve had to try and steer them away from that.”  

That reminded me of a shoot I once did for a client.  Their ad agency used stock images one year, and the client thought everything looked way too generic and impersonal.  They wound up hiring me the next year to shoot some very specific images that better matched their brand identity.  It made more sense than using stock images designed to fit “everybody’s look”.  
This isn’t to say that stock images are always bad.  There is a need for stock, though it is often based on budget rather than the actual image.  When a company has a tight budget, the cost of a stock image (often half the cost of making a new, unique image from scratch) makes more sense.  However, it becomes very hard to find an image that specifically meets a company’s needs, unless it was shot specifically with that company in mind.  
Think about Coca Cola (or any other big company).  Pretty much any international company will have a very well-defined brand.  They know what their product and their image is supposed to be.  They hire photographers to match that brand with 100% accuracy.  I’m sure there are several stock images out there (just because there are millions of stock images available) that would fit the company’s brand, but sometimes it just makes more sense to create the image from scratch.  
And remember, most stock images can’t be purchased with exclusive rights.  That means a company may find the perfect image at a great “stock” price, but then another company winds up using the same exact image in their campaign.  Not exactly the way to stand out from the crowd…  
Usually, stock makes the most sense for background images, secondary images, or images that just aren’t the main focus.  Like, a website banner, a small image on the back of a newsletter, or a soft, blurry, background image in an advertisement.  
And there is one other factor that affects the stock vs original image debate:  Timeline.  What if the client needs to put out a last-minute ad in a trade publication, but the ad is due Friday afternoon.  Not a big deal, until you realize the ad placement was approved Thursday morning!  
It would be pretty hard to pull together a photo shoot so quick, and there may be a “good enough” image available as stock.  You just need to spend a couple hours searching to find it.  It gets purchased online, downloaded, designed into the ad, and sent off to the publication.  Done.  And it is in by Friday afternoon.  
I had a client call me up for images of Shakira.  They were running an ad in Billboard or Pollstar or one of the music industry trade pubs.  It was a rush deal, so they asked if they could use one of my shots I had available as stock.  No big deal.  Her next concert was too close to deadline, and they loved the image I already had.  I made money, Shakira’s people are happy.  It all worked out.  
If they had more time, they could’ve emailed me a comp of the ad layout, and I could’ve shot an image that fit exactly what they had in mind.  However, time just wasn’t on their side…  
So, you can see that stock isn’t always the way to go, but it does have a few positive points to consider.  Mostly, it will fit any tight budget or time constraints.  However, it doesn’t always meet a client’s needs perfectly and the same image will often pop up two or three other places… ruining a brand’s exclusive feel and look.

Talk about fun!!!

Look what I’m going to be documenting/photographing this Friday night/Saturday morning:  

I won’t be staying the whole night, since I have another shoot on Friday evening.  However, I will be there long enough that evening and the next morning to capture plenty of museum-style mayhem.  Man, if I were a kid, I’d LOOOVE this event.  Actually, I probably will, even as an adult…  

Video light…

You can bet I’ll be adding one of these to my video bag, as soon as I can afford to buy it:  

Since I’m not making a gazillion dollars off my video work yet, I can’t really justify dropping $500 for a light right now.  However, I’ve seen this thing in action (a friend of mine has one for his doc work), and it is perfect for handheld documentary shooting.  

Got Korn?

I’ve photographed a lot of rock bands over the years, but I still feel bad when I have to turn down an opportunity to shoot another show.  This weekend was the second time this month that I was already booked with another photo shoot, so I had to turn down an assignment to shoot a concert.  

This time I was asked if I could shoot the Edgefest all day concert for the news.  However, I already had two shoots booked – one was my museum client and the other was a wedding.  I’ve already shot most of the bands on the Edgefest bill before – Korn, Blue October, etc – so I wasn’t missing out on some rare chance to shoot a reclusive musician.  But still…  I’d rather shoot a band for the third or fourth time than not shoot them.
I looked in today’s paper and they wound up sending fellow shooter Ricky Moon in my place.  It looks like he got some real nice photos, so I don’t feel too bad.  I feel worse when a client can’t get me, so they wind up getting some blah photog in my place.  If I had looked in the paper today and seen some lame images, then I would’ve been bummed.  I’m glad that Ricky did such a great job!
But, don’t get me wrong.  I still would prefer that a client sends me over another shooter, even if he/she gets some great images.  I’m hoping I won’t already be booked the next time someone calls me for a concert or band shoot.  I don’t mind missing a show here or there, but I don’t want to miss them all.  I’d much rather shoot Korn again and again than not shoot a concert at all.

May wedding, number two…

I don’t book many weddings.  I keep my bookings pretty exclusive.  I try to book just enough to keep me really excited about shooting them.  If I book too many, I get burned out and need a long break from them.  That’s not fair for the bride and groom, and that’s not good for me.  I’ve found that a dozen or so is the magic number for me.  
However, I was lucky enough to meet a few REALLY great wedding couples getting married in May.  They seemed so nice, that I broke my normal rule and booked a few extra weddings for the month.  So far it was a good plan, because I have done two weddings in May (out of three booked) and I’ve had such a great time at them both.  
Anyway, I thought I’d share a few pictures from this weekend’s event.  I’ve only had a chance to look through the first half of the day, so that’s all I will be posting for now.  I’ll try to look through the reception later and post some more pics soon.  In the meantime, enjoy these images from the first half:

For all the CEO’s in the house…

I just noticed the current issue of D CEO has my handy work in it.  I shot portraits of two lawyers for a story they were doing.  I always try to keep an eye out for when my images run, but I thought I was going to miss this one.  Seeing as how I don’t subscribe to anything smarter than Rolling Stone, I never expected to see a copy of D CEO in front of me.  

It actually looks like a pretty cool publication.  It takes the normal D Magazine style of showcasing the Metroplex’s local flavor, and it mixes it with intelligent, productive, business info.  If only I were a bit smarter or more savvy, I might just have to add it to my subscription list…  
Anyway, if you happen to be one of the hip, smart CEO’s that receives the publication, keep an eye out for my photo credits in this issue: