What’s in an image?

4imprint.com
Formats, copyright, design and placement

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There’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 image

Believe 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>.

© 2010 4imprint, Inc. All rights reserved

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

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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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factors can mean the difference between a browser, a buyer, a bystander or a

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brand champion.

Strategically selecting an image

Beyond 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

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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

© 2010 4imprint, Inc. All rights reserved

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

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best for your message and your audience.

Types of images
The 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 images
Once 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.

© 2010 4imprint, Inc. All rights reserved

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

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

© 2010 4imprint, Inc. All rights reserved

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

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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.

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

© 2010 4imprint, Inc. All rights reserved

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

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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

© 2010 4imprint, Inc. All rights reserved

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

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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/>.

© 2010 4imprint, Inc. All rights reserved

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

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[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.

Editing images
Images 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,

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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

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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.

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• 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.

Storing images
Holding 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

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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 results

Images 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>.

© 2010 4imprint, Inc. All rights reserved

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© 2010 4imprint, Inc. All rights reserved