Monday 7 March 2016

Boost Your Profile With A Newsletter Entry

Why having a Photographers Direct newsletter article can really get you noticed.


Here at Photographers Direct we regularly publish an e-mailed newsletter that whizzes its way into the in-box of tens of thousands of subscribed image buyers. It costs our regular photographers and image agencies just £30 for an entry, which they can write themselves and illustrate with an example of their work.

Is it really worth it though? And how can you quantify its effectiveness? Read on!

In general, the use of emailed newsletters to promote your profile or business is considered a valuable tool by the marketing industry, but it is also frustratingly hard to measure. How many emailed newsletters go straight to the junk folder? How many remain un-opened? How many create positive action? These are all un-knowables, but the same can be said about postal mail-shots or adverts on bill boards or in paper-based publications.

What we can control is that Photographers Direct newsletters are targeted to a receptive audience who are in a position to benefit our photographers. Our subscription list is made up of people who have registered themselves on the Photographers Direct website, so we know they are interested in the service Photographers Direct provides. Many of them will go on to purchase images from our photographers. They also have the option for un-subscribing from the newsletter, at the time of registration and any time after, so there is a willingness to receive the newsletters.

Furthermore, if the people on our subscribers list are familiar with the Photographers Direct set-up then they will know that we only allow photographers of a high standard to contribute to the website, and then only allow the best images to be incorporated into our search tool. This translates into a feeling that the articles in the newsletter must also be of high quality and worth sparing a few minutes to take a look at.

So, if you have an article in a Photographers Direct newsletter then you can be confident that it is going out to the people that matter. How that is translated into sales for you is a fuzzy area. I'm sure you know for yourself that if you see a commercial for a flash new car on the TV, say, then you don't immediately rush out and buy one. Or at least I hope not! But when you do find yourself ready to change your wheels, you might remember the advert and it could influence your choice of a new car. What is certain is that if you had never seen any adverts, or read about, or heard anybody talk about, a particular car model then you wouldn't even take it into consideration.

Same with Photographers Direct newsletters. The chance that a newsletter with your contribution in it will land in the mailbox of a magazine picture editor just at the moment when they are looking for exciting photos of whatever is your specialty is rather slim. But, they might forward it to a friend at another magazine who could have a need, or they might have a look at your website and bookmark it for future use. Without ever hearing about your professional work, how could they know how good you are?

Or they might want such an image in six months time, and remember they saw your article, and see if they can dig it out. The good thing about Photographers Direct newsletters is that we keep past issues on the website ( see our library of past newsletters ) where they get into search engines so that it makes it easier for buyers to find you when the original email has long since been deleted.

We are now publishing the newsletter articles on social media too ( Google+, Facebook, Twitter, LinkedIn ), so even if people have their mailboxes set to maximum spam protection, or don't subscribe to our newsletter, or have never heard of Photographers Direct (and you) before, then they can still get to see and appreciate your work.

In summary, the value to your image sales of a Photographers Direct newsletter article is unquantifiable in hard statistics, but certainly valuable in soft marketing by raising your profile in the consciousness of buyers and leaving a lasting footprint on the internet. Price-wise, we think £30 is good value for money for the exposure it will get you: In comparison to a regional British print newspaper, 30 pounds would typically buy you a small, one-off, double-column ad in the classifieds section. No images, no links back to your website, and (if it wasn't rightly banned now) wrapping fish and chips by next week.

If you want to contribute to the next newsletter, send your submission to juliew@photographersdirect.com. You need to be registered with Photographers Direct first, of course.

And if you are not already registered with Photographers Direct and have stunning images you want to sell, then what are you waiting for? Register with Photographers Direct right now!





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Sunday 6 March 2016

Mining Photography by Kevin Palmer

 “It took hours to get to and then into the mine, another five hours to set up and experiment, and two and a half minutes to shoot.” Kevin Palmer talks about the challenges of setting up a studio at the bottom of a mine.

Mining photographer Kevin Palmer has sent us an outstanding set of mining images recently. Below is just a small selection, many more can be viewed at the Photographers Direct website, where you can also contact Kevin for assignment work or to license an image.

Creating a photo studio 3000 feet underground

Underground Mining

Confronted with the challenge of creating an impressive image of this complicated piece of mining machinery, Kevin relied on the skills he developed as both a studio and adventure photographer, his unflagging energy, and his determination to solve any problem.

In order to create this photo, Kevin, with the assistance of machine operator Joe Bothello and Mine Supervisor Kerry O’Halloran, set up a virtual photo studio in the mine. They utilized an assortment of lights on high and medium power, a fill light, plus two softboxes.

As Kevin said, “It took hours to get to and then into the mine, another five hours to set up and experiment, and two and a half minutes to shoot.” Only a perfectionist thinks in those terms.

What was Kevin’s biggest problem? “Power. The high demand for electricity by our power packs kept kicking off the circuit breakers. We solved the problem by running extension cords to a nearby compressor, splitting the power requirement from each in half. I couldn't position the lights exactly where I wanted to because of the tight quarters. But we made do.”




Portrait of a little Haitian Girl

"This little girl came to the drill site after walking a mile from Haiti. The Canadians there brought her family clothes and food, and regularly donated to the family. On this day, I happened to be there on-site as she ever so carefully proceeded forward coming around the hill. I was surprised, as I wasn't expecting to see this on a mine site."


"Best of Friends! A miner with much to do takes time out for the little girl that walked a mile from Haiti to check out the supply of food at the camp. All the workers made provisions for the little girl and she leaves the site to walk back home to deliver the goods to her family."

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