Designing Women: Lock, Stock and Brand Guide

Everyone knows bad stock photography when they see it, but who among us knows what makes the good stuff good? Our senior designers do! And they’re talking all about stock photography in the latest issue of Designing Women.

We see all kinds of stock photography every day, so we intuitively kind of know what it is, but can you define the term for us non-creative humans?

Kristie: It’s a photo — usually found found on a searchable online database — that can be purchased for specified uses. Stock photos are usually created through using models and staged scenarios, which makes them convenient for use in graphic and design situations where hiring a photographer to capture own-able, real life events is cost-prohibitive or impossible.

Daniela: Stock photos are ready-made — and not custom — photographs and illustrations that are available to license and purchase.

(Fun fact: Nobody looks like this while eating a salad. Plus, this model is famous for being overused. Do not use her photos!)

Everyone knows “bad” stock photography when they see it. Can you tell us what makes bad stock photography bad?

Daniela: Bad stock photography tends to have a few instantly recognizable features. It’s overly posed and the models usually have exaggerated expressions. If someone is giving a thumbs up or looking directly at the camera, it’s probably bad stock photography. Other hallmarks include outdated hairstyles and technology, excessive editing (think: Minority Report-style graphic overlays, chalkboard illustrations and all types of bad photoshops) and weird, cliche or unrealistic settings.

Kristie: Exactly. I’d also add, obviously staged, poor studio lighting, and unnaturally happy people to the list of bad stock photo features. If it’s really bad, you’ve probably seen it in more than one campaign over time.

You know it when you see it. This is how CSG’s senior designers define it.

What makes good stock photography good?

Kristie: Good stock photography doesn’t look staged. It uses natural warm lighting and — I can’t stress this enough — normal people to capture a candid and unstaged look. A shallow depth of field can help push the production value up and make a photo look less like stock, and more like we are peeping into a scene from real life.

Daniela: It’s relatable, warm, dynamic and genuine. Good stock photography feels feels like a moment frozen in time that you were there to witness.

Good stock photography feels like you’re witnessing a real moment in time.

CSG’s brand guide outlines how our agency uses stock photography. Can you explain our stock photography aesthetic? What does it look like in action?

Kristie: CSG photos should always feel warm, natural and unstaged. We would love to use real photography as  much as possible, but when we must rely on stock, it should still feel like a photo from a team-building Gather, or a day in the office, or as if we went to do the activity in the shot ourselves. CSG’s brand should be ownable and not feel as though it could be slapped on any company and feel the same. It should feel like us — and it should embody our values and principles.

Daniela: We also strive to have our stock photography reflect the personality of the agency, which is why we use photos of real people in the agency to sprinkle throughout our sales and marketing materials, so we can differentiate ourselves from the sea of overused stock photos that people are already starting to recognize.

Our stock photography features CSG’s intellectuals and influencers.

Tell me one thing you love about stock photography.

Kristie: Two things. First, there’s a great bank of vector illustrations, icons and graphics that are available in an editable form. It gives designers an effective head start — we can find something close to the idea in our head and quickly manipulate and alter it to our clients’ specific needs. Second, stock photography isn’t that bad these days. There are several sites that actually aim to only offer authentic photos. Due to the rise in popularity in pre-produced imagery, there are countless options in terms of images and platforms to search.

Daniela: You’re absolutely right — it’s gotten so much better over the years. It’s a great storytelling tool. Some photographers use the same models on different shoots and do different versions of the same photograph, so you can have continuity and familiarity without having to do a custom shoot.

Don’t you feel you were part of this intimate prep session between grandma Sofia, Mama Rosa and Granddaughter Carla?