What’s in an image?composition.”5 Specifically, the guidelines Hartman refers to that make for the best image include6: Point of interest Every good image has a specific idea,

What ’s in an image?

4imprint.com

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© 2010 4imprint, Inc. All rights reserved

Formats, copyr ight, des ign and placementThere’s no denying the power of the written or spoken word in marketing and

communications but sometimes it’s the image that truly defines a message.

Whether it’s a photograph online or an illustration in print, a carefully chosen

image can reinforce messages or simply serve to convey feelings or emotions that

words sometimes cannot. Images can also draw people in to a story, improve

aesthetics of a layout or bring attention to a message’s call to action.

The key to using images—which aren’t limited to photos—effectively is to

understand what makes an image impactful. Then, images should be chosen

with careful consideration of purpose, technology, rights and royalties, budget,

size, optimization and other factors in order to ensure that the use of images is

strategic, cost efficient and successful.

The power of an imageBelieve it or not, choosing an image that is most effective with your message

and intended audience has a little to do with psychology and the way the mind

interprets or relates to an image. Given a basic understanding of this psychology

enables communicators to choose images that not only look good, but feel good

or make sense with a message in the mind of a reader or viewer.

The ability to construct meaning from visual images in advertising and other

communications is sometimes referred to as “visual literacy”1 and the practice

of using images to strategically assist messaging in communications is referred

to as “visual communications.” Together, this skill and practice prove that the

content encountered on the Internet, on television and in print is not limited

to text for a reason.

Images make it possible for us to2:

Understand

Sometimes it’s just easier to explain something in pictures than it is in

words—like a color or how to assemble a prefabricated shelf. Additionally,

as the world continues to become faster paced, people expect to gain

information and knowledge quickly. Too much text can overwhelm,

confuse or bore the mind. Images help to not only break up text but

can illustrate a point or a product faster, and in less space, than can be

explained in text. Images use understanding to reinforce a message; if an

image conflicts with the understanding offered to the audience in text, a

1 Bamford, Anne. “Visual Literacy.” Adobe Systems Inc.,. Web. 12 Feb. 2010. <http://www.adobe.com/uk/education/pdf/adobe_visual_literacy_paper.pdf>.

2 McInnis, Debbie. “How to Use Imagery to Create a Memorable Message.” MarketingProfs: Marketing Resources for Marketing Professionals. Web. 11 Feb. 2010. <http://www.marketingprofs.com/tutorials/macinnis1.asp>.

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disconnect occurs. “Any image that people can’t make sense of construes

the message,” explains professional photographer and designer, Annette

Hartman.3

Make sure any image your business or organization uses serves a purpose

by addressing these considerations. Images should hit on an emotion you

wish to convey, focus on a product you sell, demonstrate directions, show

the subject of your text or illustrate

a service that you offer.

Remember

Research has suggested that 72 hours after seeing a message presented

with images, 65% of people can recall the message, compared to only 10%

recall in people who have seen the message presented with text alone.4

Perhaps it’s not entirely important to your business or organization that

someone recall points made in a brochure or in an article, but from a

marketing standpoint this tactic can be key. Help audiences remember your

brand, Web site, product or message by choosing images that connect the

dots between the written or spoken word and the message you are trying

to convey.

Experience

Especially online, it would be difficult to sell a product to a consumer

without showcasing photos of the product. Photos set expectations and

allow consumers to feel more informed about the purchases they are

making by letting them experience or interact with a product in a small

but important way prior to the point of sale. Images also have the ability

to spark our imagination in ways that text sometimes can’t. For instance,

a photo of a happy child better conveys the experience of that child than

text ever could. In seeing the experiences of others, the mind is better

able to envision itself in these same experiences. Visualizations from these

experiences can increase the emotional impact of text or prompt a strong

desire to become the subject of an ad with the belief that

purchasing a product or service is all a person needs to achieve

that experience.

These three psychological factors work together in the minds of audiences to

make sense of the messages they encounter. For a business or organization these

3 Hartman, Annette. “Interview with Annette Hartman.” Telephone interview. 17 Feb. 2010.4 “The Importance of Pictures.” The lawyering survival guide | Lawyerist. 14 Jan. 2010. Web. 12 Feb. 2010.

<http://lawyerist.com/the-importance-of-pictures/>.

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brand champion.

Strategical ly se lect ing an imageBeyond psychology, the strategy of selecting images for use in any medium goes

much further than addressing whether or not an image makes sense for your

audience and message. Selecting images also requires knowledge of what makes

a great image.

Hartman suggests that the best images follow the most basic guidelines of

photography. “Images should be framed in some way, something should be in

the image to draw the eye to the subject of the photo,” says Hartman. “Leading

lines also help in creating aesthetically appealing guides for the eye while

other guidelines can convey different meanings or emotions as can the overall

composition.”5

Specifically, the guidelines Hartman refers to that make for the best

image include6:

Point of interest

Every good image has a specific idea, topic or subject to which a viewer’s

eyes are attracted. Other elements in the image should support and focus

attention on the point of interest so it alone is emphasized. Images that

lack a point of interest or contain multiple points of interest are confusing

to the viewer.

Subject placement

Amateur photographers often assume that the subject of a photo should

be in the center of a photo. While this may hold true for headshots and

close-up images like product images, it’s not necessarily true of all images.

5 Hartman, Annette. “Interview with Annette Hartman.” Telephone interview. 17 Feb. 2010.6 “Basic Photography Techniques - Photographic Composition, Center of interest, Subject placement, Simplicity,

Viewpoint and camera angle, Balance.” Photography Composition Articles Library. Web. 20 Feb. 2010. <http://photoinf.com/General/NAVY/Photographic_composition_Balance.htm>.


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In photography, the basic rule of subject placement is called the principle

of thirds. This rule is based on the fact that the human eye is naturally

drawn to a point about two-thirds up a page. Good images include the

point of interest located around one of the intersection points, rather than

in the center of the image, as illustrated here:

Perspective

Perspective is essentially the way real three-dimensional objects are

represented in an image that has a two-dimensional plane. Perspective can

serve to give viewers a sense of relationship of objects to one another or

to a vanishing point or horizon line. Perspective is also used to create the

illusion of lines—known as leading lines—that use subjects to draw the eye

to the point of interest in an image, like this image below. The city skyline

draws the eye to the woman:

Balance

Balance in image composition is what makes images appear harmonious.

Each element of an image has a certain amount of value in respect to all

the other elements. For example, objects in the upper part of an image can

seem heavier than objects of the same size in the lower part of an image,

or intensely interesting objects can seem to have more compositional

weight. Like this:

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In general, balance can refer to symmetrical or asymmetrical balance.

• Symmetrical balance

Also known as formal balance, this is achieved when

elements on both sides of an image are of equal weight.

The idea of formal balance can be related to a seesaw;

when there are two equally weighted objects on the seesaw

and they are equal distance from the pivot point the board

will be in balance.

• Asymmetrical balance

Asymmetrical balance, sometimes called informal balance,

is when the imaginary central pivot point is still presumed

to be present; however, instead of mirror images on each

side of the image, the subject elements are notably different

in size, shape, weight, tone and placement. Balance is

introduced when the presumed weight of two or more

lighter objects is equalized by a single heavier object placed

on the other side of the imaginary pivot point.

Contrast

Contrast of colors, tones and textures in imagery can emphasize certain

parts of an image or direct a viewer’s attention to the point of interest.

In black and white images, contrast is considered the difference in subject

tones from white to gray to black or from the lightest tone to the darkest

tone. In color photography, the use of different colors creates contrast. The

below example shows how a photo’s focus can be used to create contrast

with color:

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Framing

Framing is also a guideline used to direct the viewer’s attention to the

primary subject of a picture. Positioned around the subject, a tree or an

archway, for example, can create a frame within the picture area. Subjects

enclosed by a frame become separated from the rest of the picture and are

emphasized. It should be noted that an element used as a frame should

not draw attention to itself, or serve as the subject of interest in and of

itself. Ideally, the frame should relate to the theme of the picture. As an

example, the picture below shows two trees framing the sun on a snowy

day:

Bottom line, not only is there psychology behind images there’s science behind

them, too. In understanding what makes a good image, your business or

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organization is supplied with the knowledge to use images in ways that work the

best for your message and your audience.

Types of imagesThe use of images is not limited to photographs. The term7 also includes logos,

icons, illustrations and other graphics—some of which are referred to as vector

graphics or images. Technically speaking, the difference between a photograph

and a vector image is the shape. Photographs are comprised of tiny dots called

pixels. When photographic images are altered incorrectly or displayed at an

inappropriate size, these pixels can become more evident and the actual image

less clear to the eye; in other words, the pixels are responsible for the overall

resolution of an image. Vector images are comprised of solid lines and curves, and

generally speaking, can be reproduced multiple times in all different sizes with

little to no apparent effect on quality.

Obtaining imagesOnce upon a time, the only hopes any business had of obtaining images was to

hire a photographer or purchase stock photos. Today, with opportunities made

possible through the Internet there are more options for finding images than ever

before. When seeking images for your business’s communications, there are four

primary options: In-house imagery, professional photography, stock imagery and

creative commons imagery. Depending on your budget or needs, one or more of

these options may be a good fit. Each option also has very specific approaches to

licensing and rights that should be considered prior to purchase in order to avoid

legal liability for using images that are not owned by the user.

In-house imagery

This refers to photographs captured, or illustrations created or drawn by

employees within your business or organization. In-house imagery is a good

option in that the photographer or illustrator is more likely than an outside

source to have a solid grasp on the brand and culture of an organization and is

assumed to be available on the fly to capture organic moments as they happen.

Another attribute of in-house imagery pertains to image rights—they belong

to your organization and no additional royalties will have to be paid or rules

followed each time an image is used or reproduced.

However, many businesses and organizations make the mistake of assuming

that this is the cheapest way to go. In reality, in order to create quality images

your business will need to invest in camera equipment, lighting and photo or

image editing software like Adobe® Photoshop or Illustrator. These items alone

7 Hartman, Annette. “Interview with Annette Hartman.” Telephone interview. 17 Feb. 2010.

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can run up an initial bill of a few thousand dollars easily, without factoring in

the time employees will need to staff events or edit images. What’s more, unless

the employee charged with taking photographs is experienced, quality can be

compromised and greater time allocated to accommodate for the lack

of knowledge.

Sam Ogden, staff photographer for Dana-Farber Cancer Institute, shares a few

pointers for avoiding that amateur-ish look when capturing images in-house8:

1. Consider angles—it’s the easiest way to bring interest to a

potentially boring photo. Avoid standing two people side by side;

instead have people angle toward one another. Take an award

photo from behind the stage instead of the more obvious front-of-

stage angle.

2. Add objects—it can frame a photo and bring context to it in one

fell swoop. For example, if Ogden is photographing lab technicians,

he’ll make sure there are test tubes or lab equipment in the photo

somewhere, too.

3. Get the emotion in action—use photos that were taken candidly or

illustrate who is being affected by your organization.

4. Take your time—photography requires patience.

If a business or organization is willing to make an investment in the proper

equipment and professional training of staff, in-house imagery is a viable option

especially for small businesses and nonprofits.

Professional photography

In this option, a business gets an experienced professional to capture or create

images. Like the in-house option, hiring a professional offers the ability to

customize images by capturing the actual individuals, products or equipment

specific to that business or organization. If your business or organization is

hoping to use images of your own products, services or facilities, professional

photography is often necessary. Hartman also suggests that brands with a unique

style should opt for this route.9

Usually professional photographers are brought in to do one of two things:

Photograph a staged photo shoot of a person, object or place, or to photograph

an event. In general, staged photo shoots can be labor intensive and have

additional costs, such as experts to assist with hair, makeup, display, food,

transportation or clothing. Event photography can be more straightforward as

8 Miller, Lindsey. “4 techniques for spicing up corporate photos.” Ragan.com. 11 Feb. 2010. Web. <http://www.ragan.com/ME2/dirmod.asp?sid=&type=gen&mod=Core+Pages&gid=EA21BB8C2E90424ABA40CB8581A9E05D>.


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it lends itself to a “photo journalistic style” or more natural images. That being

said, each shoot is unique and elements like lighting, models or even weather

will ultimately impact price, timing and product. So, keep in mind you’ll want to

ensure you’ve considered all the costs affiliated with the shoot and understand

the rates and deliverables provided by the professional photographer.

The major difference between a professional photographer and an in-house

photographer usually comes down to copyright license, skill and equipment.

The rights to photos are usually dependent upon the rate or package and many

professional photographers require attribution or watermarks on any images

used, even though your business paid for them, unless otherwise specified in

a contract. Skill and equipment are often of a higher caliber than an in-house

photographer.

And finally, when seeking professional photographers ensure they have

experience photographing within your industry or in a purpose similar to your

overall image objectives. Ask for recommendations and requests for proposals,

and be sure to review samples of work and placement in publications their work

has garnered.

Stock imagery

Stock images are generic photographs or illustrations that have been created

for purchase by businesses and organizations to use for marketing and

communications purposes. Hardcopy photographs from stock houses like

Getty Images® can be just as expensive as hiring a professional photographer.

However, there are stock image sites, like www.iStockPhoto.com and

www.ShutterStock.com, that offer a seemingly endless variety of digital files

for fees ranging from $1 to $50 and include photos, vector images, b-roll video,

animations and more.

Hartman, although a professional photographer by trade, explains, “It’s just more

cost effective to buy stock. It’s cheaper, it’s faster, the rights and royalties are cut

and dry.”10

Hartman goes on to explain that most stock photo sites offer better deals for

purchasing in larger quantities—something traditional stock houses don’t usually

offer. Additionally, payment for images includes limited rights to use the image

for business use and reprint. Purchase is considered agreement. There’s no

additional paperwork or monitoring after the initial terms have been read.


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The risk organizations run when using stock imagery is that it might not be

unique and millions of other people have equal access and rights to the same

images. Also, while the licensing and rights issues are often less stringent, the

rights vary by stock provider and by photographer. So, reading the fine print and

using the photo purchased specifically for its intended use is important to protect

against legal action.

Creative Commons® imagery

Creative Commons is a nonprofit corporation based in San Francisco, Calif., that

is dedicated to making it easier for people to share and build upon the work of

others while respecting copyright. It does this by providing free licenses and other

legal tools to mark creative work with the freedom a creator wants to carry so

others can share images, use them commercially or use them to create something

new.11

Creative Commons images are free and most often obtained from photo sharing

sites like Flickr™. The benefit of choosing images from Creative Commons is that

there really is no cost incurred in obtaining them.

If your business or organization would like to consider this option, start by going

to www.flickr.com and conduct an advanced search of keywords potentially

relating to the desired image and mark the box “Only search within Creative

Commons-licensed content.” Then, choose an image that strategically meets your

objectives and has the appropriate licensing. Creative Commons lists the different

levels of licensing and corresponding demarcation as follows12:

Attribution: Users can copy, distribute or alter an image as they wish just so

long as they give credit to the original source in the manner requested by a

photographer.

Attribution Share Alike: Users can alter images to create new images as long as

users allow others to use the new image under Creative Commons licensing, too.

Attribution No Derivatives: A user is free to use images with this demarcation

as long as the image is not altered in any way.

11 “About-.” Creative Commons. Web. 12 Feb. 2010. <http://creativecommons.org/abouts/>.12 “Licenses -.” Creative Commons. Web. 12 Feb. 2010. <http://creativecommons.org/about/licenses/>.

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Attribution Noncommercial: Generally speaking, avoid images with this

demarcation. It basically means images cannot be used for commercial

use by businesses.

Attribution Noncommercial Share Alike: Lets users build upon or change images

for noncommercial purposes as long as credit is given and new creations are

licensed under identical terms.

Attribution Noncommercial No Derivatives: This license is often called the “free

advertising” license because it allows users to download images and share them

with others as long as they mention the creator and link back to them, but they

can’t change the images in any way or use them commercially.

Images from Internet search engines

This way of finding imagery is only included in this paper to say “Don’t do it.” It’s

not surprising that due to limited resources or inexperience with copyright law

searching the Internet for images is a path often taken. However, not only is this

practice unethical, the potential legal costs could put a business, out of business.

No matter which option your business or organization ends up pursuing,

hopefully two things are clear: Images should be chosen with purpose and

consideration and any time an image is used, it should be used legally in a way

that either pays up front for usage rights or royalties, or credits the photographer.

In abiding by these basic guidelines, your business or organization will be well on

its way to effective imagery in print or online.

Releases

One last note to take into consideration when selecting photos: It’s necessary

to obtain permission to use the photo from the people pictured. Release

forms primarily serve to protect the photographer or business from requests

for payment to the individuals captured or the rights to photographs, files or

negatives. Legal action can also result when a person feels that privacy has been

violated by not being asked consent or told a likeness would be used. �

Typically, permission releases are only required if a business chooses to use

internal photographers or hires professionals—stock images and Creative

Commons images are assumed to have obtained releases and the original

photographer is liable if otherwise. Plan ahead when obtaining photographs or

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images and bring release forms to be signed the same day an image likeness is

captured. These release forms are a written agreement between13:

1. Your business or organization and the person you are

photographing.

2. Your business or organization and the parent or guardian of the

minor child you are photographing.

3. Your business or organization and the person who owns the

property you are photographing.

Typically, releases are only required if someone’s face is featured prominently

or a child has been captured in an image (in which case a release would require

a parent’s signature). Crowd shots or shots that don’t include clear views of a

person’s face don’t always require consent. Industry best practice dictates that

forms should be sought prior to photographing or reproducing an image with

the purpose of advertising or marketing noted on the release—this includes

indicating the images may be used in advertisements, newsletters, news articles,

online, etc.

Below are standard samples of wording for such releases, keep in mind that

before creating your own release your legal team or a lawyer should be

consulted—each state has different laws or contract consent ages, and industries

such as health care and government have much more complex privacy concerns or

processes that will need to be addressed.

Sample Release Language I

I hereby consent to and authorize the use and reproduction, in print or

electronic format by [Name of Company] or anyone authorized by [Name

of Company], of any and all photographs which have been taken on

this day for any publicity purpose, without compensation. All images--

electronic, negatives and positives, together with the prints, are owned by

[Name of Company]. I hereby acknowledge that I am 18 years of age or

older and have read and understood the terms of this release.14

Sample Release Language II

I hereby grant [Name of Company] permission to use my likeness in a

photograph in any and all of its publications, including Web site entries,

without payment or any other consideration.

13 “Photography Release Forms - LoveToKnow Photography.” Photography tips | Camera instructions. Web. 12 Feb. 2010. <http://photography.lovetoknow.com/Photography_Release_Forms>.14 “General Photo Release - Office of Marketing Communications - Ithaca College.” Ithaca College, Ithaca, NY. Web. 12 Feb. 2010. <http://www.ithaca.edu/marcom/docs/photorelease/generalrelease/>.

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I understand and agree that these materials will become the property of

[Name of Company] and will not be returned.

I hereby irrevocably authorize [Name of Company] to edit, alter, copy,

exhibit, publish or distribute this photo for purposes of publicizing the

[Name of Company’s] programs or for any other lawful purpose. In

addition, I waive the right to inspect or approve the finished product,

including written or electronic copy, wherein my likeness appears.

Additionally, I waive any right to royalties or other compensation arising or

related to the use of the photograph.

I hereby hold harmless and release and forever discharge [Name of

Company] from all claims, demands, and causes of action which I, my heirs,

representatives, executors, administrators, or any other persons acting on

my behalf or on behalf of my estate have or may have by reason of this

authorization.

I am 21 years of age and am competent to contract in my own name. I

have read this release before signing below and I fully understand the

contents, meaning, and impact of this release.

Besides legal protection, release forms can give a business or organization

the opportunity to use and collect images for future use—expanding on the

possibilities for future imagery and potentially making the next round of strategic

image selection an easier process. Consider putting the use of permission forms in

place today.

Edit ing imagesImages often require editing that may range from simple touch ups, cropping

or resizing to extensive color alterations, layering or special effects. While most

computers and some digital cameras come with very basic photo editing software,

any business that intends on using images online or in print will likely require a

more robust application. Consider outsourcing photo editing to a graphic artist or

bringing that work in-house using a high-powered and versatile editing software

like Adobe Photoshop and training staff to use it.

File formats

The foundation of any editing lies in the image’s file format. It may seem as if

there are as many file formats as there are images in your library, and while there

are a wide variety to choose from, each option has a specific purpose and/or

medium. Images should be formatted based on intended use and then edited to

perfect its presentation.

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File formats come in two primary compression categories that impact overall size,

resolution and quality when taking an image from its native file to an alternate

format:

Lossless compressions: When an image is compressed with this

algorithm, the file size is optimized without sparing image quality.

Therefore, when image quality is valued above image size, seek a

file format that uses this algorithm.

Lossy compressions: When an imaged is compressed with this

algorithm, aspects of the file that are practically imperceptible

to the human eye are removed to decrease the overall file size.

The most common image files are JPG, GIF, TIFF, RAW and PNG files15.

• JPG

Compression: Lossy

Best for: Photographs; Web

JPG images can compress in a small file size while retaining great

image quality, yet the more compressed a JPG becomes the more

pixilated the image will look.

• GIF

Compression: Lossless

Best for: Graphics; Web

GIF files are formatted for illustrations or graphics that are limited

in color, like graphs or cartoons, compared to the many varying

shades of color found in photographs. The GIF can also be animated

and you should never save a photo as such.

• TIFF

Compression: Can be lossless or lossy

Best for: Photographs; print

This file format allows for the least quality lost in an image when

converted from its native format compared to a JPG. However, it

results in a larger files size and should therefore not be used for

Web images.

• RAW

Compression: Lossless or near lossless

Best for: Photos

RAW files are considered to be “pure” or “original” files in that

they come directly from the digital camera that produced the

images. This file name varies slightly by camera manufacturer.

15 “Digital image file types.” Wake Forest University Winston-Salem, North Carolina. Web. 20 Feb. 2010. <http://www.wfu.edu/~matthews/misc/graphics/formats/formats.html>.

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• PNG

Compression: Lossless

Best for: Graphics; photos

Produces smaller files and more colors than a GIF. If you want to

display a photo on the Web with little to no loss, PNG is a good

option. Be warned, though, not all browsers support this file.

Cropping and resizing

Editing images by cropping and resizing ensures that a good image becomes a

great one. These actions make it possible to save space, focus on the most critical

portion of an image and abide by certain best practices.

Generally speaking when cropping, images should be cropped to show or

frame the most critical or sensible aspect of an image. After cropping images,

they should be saved to the exact size required for use via editing software. If

you simply resize your image in your Web editing software or with HTML, for

example, the image may appear distorted or impact the HTML code.

The standard resolution for images used online is 72 dots per inch or dpi while the

standard resolution for print is 300 dpi. These measurements have nothing to do

with the size of an image in terms of width and height and everything to do with

the resolution and overall file size.

As you are required to change the size of an image, keep in mind that you should

never scale photographs—this makes images prone to pixilation or distortion.

Instead, resize. Also, for digital use of hardcopy images, scan the hardcopies at

600 dpi to ensure resizing is feasible with the least pixilation. The dpi option is

usually found under the file menu category—resolution. Always save as a TIFF

before saving as a JPEG to ensure little data loss during compression.

Additional notes on Web images

• Use the ALT attribute. Sometimes known as ALT tags, this is short

descriptive text in the code of a Web page that describes what a

viewer will see in an image. Not only does this assist search engines

in identifying your image, it helps those accessing your page or

e-mail in browsers or readers that can’t download images by telling

them what they would otherwise be seeing.

• When placing images online, keep in mind how the human eye

tends to approach the Web: Eyes usually start in the upper right-

hand corner of a Web site and scan down the page in ‘F’ pattern.

Place images in ways that compliment this habit and guide the eyes

through the text.

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• Make file names descriptive and keyword rich.

• Use image captions.

Additional notes on images for print

• There’s no rule that says images need to be square—play with the

text as a way to frame an image or remove the background of

an image using photo editing software and place wherever you

choose.

• Print mediums often offer much more flexibility in terms of the

space you have to work within when placing images and text. Use

images appropriately to tell a story and to break up large blocks of

text to prevent information overload.

Additional notes regardless of the medium

• If you are taking your own photographs with a digital camera,

select the camera setting that offers the highest resolution possible

and direct the camera to store photos in an uncompressed format.

• Place images within text in a visually appealing way. Think of

multiple images as storytellers—include them in logical progression

in reference to the text or other content shared.

Stor ing imagesHolding on to images for future use is a great example of why your business or

organization should consider establishing a photo library. Photo libraries can help

manage the organization of images to track which images have been used, how

and what licensing rights pertain, along with images on file that may not have

been used yet. What’s more, photo libraries allow a consistent storage system and

a centralized location for easy access, and they hopefully prevent employees from

saving outdated, overused or replicated images in multiple locations, or worse,

purchasing the same photo from stock sites over and over.

Depending on how large a collection of photographed, purchased, and

downloaded photos is, a system of establishing a library will vary. Smaller

collections may do well in a simple folder structure stored (and backed up!) on a

computer or server. Larger collections will require more intricate folder structures

and potentially even the purchase of specific photo library software.

While creating folder structures, keep the following tips in mind:

• Begin with an empty folder for all images and then build additional

folders within this folder to house images based on categories. In

the early stages of building image libraries, categories should be

very broad. For example, a nonprofit organization may start with

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categories of events or programs and an advertising agency

may start categorizing by client or campaign. Then, create

categories within the categories—getting slightly more specific

as you go along.16

• You know you’ve chosen optimal categories when each photo fits

only within a single category. The folders must represent categories

that don’t overlap. Additionally, make sure that these categories

are obvious and intuitive enough so that everyone would make the

same judgment about where images belong17.

• As photos are saved, tag each photo with keywords, found in the

property settings of a file or integrated with the use of Adobe®

Bridge, for ease of searching. For example, an image of a product

used in a campaign would first be stored under the client or

campaign folder, then perhaps a generic product folder with the

product name in the image itself, but tagged with descriptors like

the name of the product, the predominate color depicted in the

photo, the photographer or source, the location, licensing, etc.

Keywords ultimately serve to search and sort by very specific terms

and create a less static way of looking for photos.

• Also be sure to save photos in their original uncompressed format,

in addition to all variations of uses, so that images may be used and

optimized in other ways in the future.

Enjoy the resultsImages that have been chosen with care and knowledge are not only more

likely to improve communications materials and channels online and in print,

they are also more likely to draw attention to the works in which they are

featured. “A picture is worth 1,000 words” is a cliché for a reason—it holds

true, especially in today’s fast paced society chock full of visual learners.

Enhance your brand, enhance your writing, enhance your Web presence—use

images strategically today.

16 “CreativeTechs Tips: Creating an In-House Stock Photo Library.” CreativeTechs » Seattle Mac Support for Graphic Design, Advertising, and Photography. Web. 20 Feb. 2010. <http://www.creativetechs.com/iq/creating_an_inhouse_stock_photo_library.html>.

17 “CreativeTechs Tips: Creating an In-House Stock Photo Library.” CreativeTechs » Seattle Mac Support for Graphic Design, Advertising, and Photography. Web. 20 Feb. 2010. <http://www.creativetechs.com/iq/creating_an_inhouse_stock_photo_library.html>.

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Documents

What’s in an image?composition.”5 Specifically, the guidelines Hartman refers to that make for the best image include6: Point of interest Every good image has a specific idea,