Momentum 16th Annual Stock Visual Survey
by gordon kaye

Momentum, as all you liberal arts majors out there surely know, is the measure of the impetus, force and direction of a physical object in motion. More figuratively, and more to the point for our purposes, it refers to the progressive advance of an idea or a course of events.

Momentum, indeed, is the story of our 16th annual stock visual survey whose results portray stock visuals as a designer resource with accelerating momentum, pushing through barriers and attaining levels considered unreachable just a few short years ago.

new benchmark

First and foremost, this new survey finds that 93% of creative professionals sometimes use stock imagery in their work. This benchmark number is substantially above the average of the past five surveys and 7% above last year's result. The survey, by the way, was mailed in May 2002 to 1,000 Graphic Design:usa readers selected at random from design firms, ad agencies, corporate and publishing inhouse departments.

Those of us who go back a couple of decades in the business recall that stock photography was regarded as a marginal source of stylized, sanitized, second-rate pictures. Watching the ascent of stock visuals into a respected, mainstream, primary source of images has been nothing less than amazing. But seeing stock usage soar above the 90% mark was always unthinkable. That is, it was unthinkable until we actually sat down and tabulated the results of the new survey, and then counted again to make sure we had not lost our collective minds.

WHY IS STOCK SHOWING SO MUCH MOMENTUM?

Looking at the statistical results, as well as the open-ended comments of hundreds of respondents, the stock phenomenon can largely be explained in terms of supply and demand. On the demand side, the core value proposition of stock visuals § choice, convenience, accessibility and affordability § fits perfectly with the forces that are driving graphic design and business in general these days § the triple threat of tight budgets, fast turnarounds, and demanding clients. On the supply side, entrepreneurs big and small are providing previously unavailable quality, selection, service, affordability, delivery and speed-to-market.

Giving this trend even greater impulse are a few uniquely 21st century factors: the near universal adoption of digital design and production; an influx of capital spending in online technology from a few big consolidators; a reenergized community of specialty and niche stock agencies; and a graphic design profession that has greater control and responsibility than ever for visual communications across multiple media. The result: an extreme marketplace characterized by visual hunger and a soaring demand for more, better, smarter, faster, cheaper... and a supply chain that is in a position to provide it.

SEVERAL COMMENTS CAPTURED BY THE SURVEY NICELY REFLECT THE SPIRIT:

Pat Relyea of Edward Newland Associates, Shrewsbury NJ, writes, in part, that "the advantage of stock is the great variety of images available, the increasing ability to manipulate images, and the creative spark a powerful image can create..."

Rick Plumley of Plumley Design Group in Torrance CA notes that "stock has grown rapidly because of the wide array of images available to the designer at a reasonable price, and the widespread use of the computer and programs like Photoshop, which allow designers to easily manipulate the images. All in all, great price, lots of options and competition."

Elaborating on the reasons for growth, Greg Desvarieux of Digitek Graphics in Valley Stream NY asserts: "Convenience. The convenience with which designers can acquire the images especially via the internet. Cost. It's much more expensive to hire a photographer to go out and shoot the images. Quality. The quality of the images is superb."

A succinct Danielle Ferrin of The Maccabee Group in Hugo MN states: "Stock works because of easy access on my time, quality images with great variety, and many ways to search."

An equally concise Francesco Whyte of PMG Incorporated, Melville NY, says "stock is easy to use, easy to find, easy to incorporate."

In the same plainspoken vein, Mary Green of A.B. Chance Company of Centralia MO writes that with headcounts down, "time means everything. We're getting quality instantly § well worth the cost."

Adds Helen Veatch of Boeing Corporation in Wichita KS: "Stock provides quick and easy procurement of professional photography for a variety of clients and jobs without having to hire a photographer or be concerned with missed deadlines."

Joseph Mola of Computerworld in Framingham MA writes: "As workplaces become more 'digital,' the designer has become more than a designer. The technical aspect makes production skills more important, leaving less time for concept work or illustration in the traditional sense. And with the added convenience of browsing and searching over the web, only very specific needs require someone to hire an outside photographer. Quick turnaround is also a factor as projects seem to move at warp speed."

And Stacey Butler Curtis of Butler Curtis Design, Eau Claire WI, concludes: "It is much easier and less expensive to get a high quality photo than with past traditional methods of acquiring photos. There is so much to choose from that you can almost always 'find' the right image."

frequency

In addition to finding that 93% of designers use stock photography in their work, the survey also reveals substantial use of stock illustration and stock footage.

With regard to stock illustration, 68% of respondents said they license stock illustration for graphic design and publishing applications. This is roughly 7% above last year's result and perfectly consistent with anecdotal evidence that illustration is generally on the rise in annual and corporate reports, brochures and collateral, editorial and internet design. Stock footage took an even more significant jump up, nearly 15% to a score of 37%. Presumably, this rise is explained by the increasing involvement of designers in interactive projects, from web to kiosk to cable and broadcast design, though we need to know more. It is a trend we will continue to watch.

Shifting gears, the survey also reveals that the frequency of stock usage of all kinds reached an historic high this year, albeit just slightly besting last year's previous high. In a nutshell, roughly two of three creatives use stock more than six times; one of three use stock more than 20 times; and, for the first time in our surveys, more than one in ten say they use stock more than 100 times in the course of a year.

subjects

We also wanted to know what subjects are most often utilized by the creative community. In this regard, there is surprising breadth, with at least a dozen categories frequently noted. The People category topped this year's list followed closely by Lifestyle images and those relating to Business & Industry.

After these three, the rankings appear as follows: Medical, Science & Technology; Abstracts, Conceptuals & Backgrounds; Nature, Wildlife & Agriculture; Historical & Vintage; Food & Beverages; Fine Arts; Sports & Games; and Education & Religion. The results are pretty consistent with last year, representing only a small shuffling of the order of things, with Lifestyle and People trading places at the top, and images relating to nature, business and food moving up modestly.

searches

We were also interested in knowing how creative professionals approach the search for stock visuals. Here, the momentum which has been building toward online stock procurement most clearly reveals itself. For the first time, online searches eclipsed use of the print catalog; the two had been tied for the top spot over the past couple of years. Specifically, 82% of respondents say they use online searches to find stock imagery. Meanwhile, a healthy 70% continue to turn to the print catalog, with CD catalogs running a close third at 67%. Calling upon a stock agency search or researcher ranked fourth at 52%. Multiple responses, obviously, account for the overlap and greater-than-100% measure.

Two conclusions present themselves. One is that the promise of the internet has finally become a reality for a critical mass of actual users. To illustrate the progression here, only three years ago less than a majority of designers had tried an online search. Looking ahead, online stock procurement is likely to become even more vital as providers continue to refine the search function, speed, power, resolution, e-commerce capabilities, and security of their sites.

Another conclusion is that many designers still like having choice as to how they search, and often mix and match their approaches based on the project, the timeframe, the location and their technological savvy. The amount of overlap in the responses, including the continued strong showing of print catalogs, proves the point.

The internet is still new enough to excite people, and we received many comments, mostly positive, about the online process. Speaking for many, Anthony Farenga of Farenga Design Group in New York said: "The ability to search for stock imagery on the internet has opened up a lot of possibilities for designers. We can now assess more easily if an idea or concept can be realized quickly and within budget. To save time searching, it would be great if there was one site where all the different stock agencies were represented."

Similarly praising the efficiency of the internet, Jennifer Eckerman of Winnebago IL explains that "being able to use the internet is very helpful. Also more convenient. Downloading comps and purchasing high-res images is immediate. You are able to see images and visualize how they will work for your layout. And low-res comps are available to show the client before purchasing."

Oscar Anderson of LaSalle Bank in Elmhurst IL adds: "Searching or licensing stock visuals on the internet is incredibly useful. It's fast and easy. The only real problem is that the search criteria needs to be standardized."

traditional and rf

This year's survey shows that creative professionals are turning to both traditionally rights licensed images and royalty-free stock. Roughly three of four respondents § 73% to be precise § say they use traditionally rights licensed stock images in their work. This result is consistent with those recorded over the past couple of years. In general, respondents tend to perceive traditionally licensed images as more expensive than royalty-free, as well as a bit harder to access than their royalty-free counterparts since some fee negotiation is often necessary. On the other hand, traditionally licensed images remain popular because, say the respondents, they carry all the general advantages of stock, plus relatively more selectivity, quality, consistency and exclusivity than their royalty-free counterparts.

That said, more than four in five respondents § 85% to be exact § report having turned to royalty-free stock images or collections during the past year. This is the highest total yet recorded for this category of license, up 8% from last year, nearly 30% from three years ago. Moreover, bare statistics do not do justice to the enthusiasm. As many comments reflect, designers continue to revel in the speed, ease, and convenience that royalty-free stock presents. They also increasingly recognize the quality of these offerings, a payoff for the handful of major royalty-free players who are striving for exceptional content and to overcome the perception of royalty-free as shoddy.

A nice overview comes from Scott Coventry of PBS&J of Miami FL who writes: "Price and a constantly increasing quality level are the reasons royalty-free stock grows. For a few hundred dollars you can get a library of very usable images for the future... Also the image quality has improved over the past ten years pretty dramatically. The royalty-free houses deliver what people want § lots of good usable shots, inexpensively, in a fast medium, with few restrictions. Now Photoshop-layered composites are coming and that is truly a great next step for stock."

Robert Wright of Mlicki Design in Columbus OH echoes a similar theme: "Royalty-free is simple and safe. The negotiating is upfront and saves money. The photos are excellent quality. You can usually find something you want or something you can use... The disadvantage is that you cannot be too picky. But they do have great stuff. Very varied."

silence

In a renowned Sherlock Holmes story, a dog's failure to bark proves to be an important clue, the absence of sound being as meaningful as its presence. For the inveterate stock industry watcher, the same concept applies. One of the barriers to acceptance of stock has been the perception, expressed vociferously year after year, that the pictures and subjects are without edge or diversity, appearing plastic, unreal, posed, and ethnically, racially, demographically homogeneous. This time around, however, we can report a deafening silence. Of the 1,000 surveys distributed, only one single person registered a complaint about the lack of reality or diversity. For purposes of stock, in silence there is strength.

success

The very success of stock may, ironically, give rise to the one countervailing force that could slow the momentum. That is, more respondents than in recent memory expressed concern in this year's survey about two matters that arise from stock's rapid sweep through the community. One is the practical issue of non-exclusivity and the other is the philosophical question of how stock affects creativity. The first matter is simple but serious: frequent stock usage increases the risk of the same visual appearing across town or representing a competitor. The issue is often raised by designers in the context of royalty-free usage where restrictions are at a minimum.

Randy Wax of Coldwell Banker King Thompson, Dublin OH, for example, endorses royalty-free licensing but sees a risk: "The convenience of having royalty-free stock photography is the reason for its popularity. The strengths of using these types of photos usually relate to expense... No worry about models, releases, location shoots, travel, etc. On the other hand, you also stand the chance that your shot will be used and seen in your market by various advertisers and designers."

Similarly, Debbi Chrissinger of Taylor Macquen Advertising in Houston TX embraces the value of stock photography, especially for low budget projects, but adds that "... I would never use stock on a project without first going over the pros and cons with my client. They must realize that other companies may also have the same photograph in their ads or brochures and that the photo is not just limited to the client."

As for the less tangible matter of how stock images affect creativity, Lauren Hodge of BusinessWeek in New York nails the point: "Stock presents no muss, no fuss... It is convenient and easy to obtain. The only problem I see is that you have to make your creative ideas work around the image instead of assigning someone to get what you need."

Coming at the matter from a slightly different angle is the articulate J. Stacy Rogers of Rogers & Company in Flemington NJ who believes that stock is sweeping the field because "everyone is a designer. All you need is a computer and enough software knowledge to put together a newsletter. They're the ones who have pumped up the stock photo business. These instant designers purchase stock because it's easy. They have no experience with original photography and the idea of setting up a shoot scares them back to stock photography. It's a 'good enough' attitude..."

change

The last word goes to the eloquent Gregory Golem of AMT in McLean VA who took great pains to describe his experiences with new stock visual developments, and then spoke for many when he observed: "We are still adjusting to the changing stock photo environment, stock agency mergers and digital cameras, all of which make for a more fast-moving business environment, changing as fast as the seasons, and we designers moving along like torn pages from a calendar."

the use of stock visuals is at record levels, for the first time surging past 90% in terms of usage. the use of the internet for stock searches has eclipsed print or cd catalogs, again for the first time. quality, choice and diversity are soaring, and in the process dispelling last lingering criticisms about content. traditional stock licensing appears stable and popular, with particular interest in specialty agencies, but the greatest enthusiasm is reserved for the royalty-free option. the sweeping success of stock is feeding fears about the lack of exclusivity and the potential for multiple and overlapping uses. new benchmark do you use stock photography in your work?