Photos matter

When they have to produce a poster, campaigners take the time to look for the right photo. They, nonetheless, do so from a pool of images available to them internally. Rarely, however incredible this may seem, do they go beyond the internal pool to commission the right shot from a professional photographer. The cost is considered prohibitive. If the shot is more generic, they may go to an image library and buy it. Here again, if the shot is above USD 500, they will rarely buy it.

And yet, professional marketers will tell you that the image is truly worth a million words. But the image, in the case of a poster, has to be good. People are quick to judge its quality. If it is low resolution or poorly lit or composed, the viewer notices it and it takes away from the message.

As one gets to brochures, the story gets worse. Countless civil society and United Nations brochures have been produced using low resolution jpg images that were barely good enough for the web. They see the image on the screen and don't realise, despite warnings, that the printed image needs more pixels (see "Pixel mysteries" elsewhere in this issue). Courtesy of Adobe Photoshop, many also think that applying a 'filter' to the image will make it acceptable.

The reasoning in the previously paragraph is purposely misleading because that is where most campaigners start their thinking when it comes to field photography. They think in terms of a photographer, a job description and associated costs. The real place to start is with the image itself. What do you want your perfect image to say. Do not cut corners by trying to adapt what you have. Take the serious time necessary to deciding on the intention of the image(s). A good place to start is with the simplest question: "If I had to replace my entire presentation with one photo, what would that photo show?" Simplistic as it may sound, this sentence is rarely uttered by campaigners. As mentioned previously, especially advocacy and fundraising campaigners.

Once you have imagined that shot, you can now start thinking about the 'how'. The how will rarely be to send a photographer from here to there. Cost is not the real issue, familiarity is. Any responsible photographer will tell you that it takes time to blend in to a social context. It takes time, if dealing with people, to win their trust and without trust, the images are rarely powerful. Good photographers want to take the time to wait for the right image, not to go searching for it. There is an old adage among tourism photographers. The best images are shot by locals. Not because they are better photographers but because they can keep coming back to the same spot until the shot is right.

Campaigners should consider doing the same. Nothing is better than knowing the shot you want and commissioning it locally. The results are usually outstanding and, depending on the location, rather inexpensive. A good local shot can cost as little as USD 500. For USD 1000, expect to get five to ten final shots. This applies almost everywhere except for major markets such as New York or London where a day rate in the USD 700 range will quickly put you into the thousands. But for a shot of a sex worker in Eastern Europe, a drug sale in Afghanistan or a humanitarian relief operation in Eastern Africa, go local.

How do you find a local photographer? The first issue is whether or not you have a local staff member on site. If you have someone locally, they can do the leg work. If you do not, you will have to work by internet and by telephone or fax. It will add a little bit of time and uncertainty, but the results will rarely disappoint you if you know what to ask and look for.

Here are the ideal conditions for a local hire.

• Does the photographer have good internet access to send you low resolution digital proofs and ultimately the high resolution images upon payment.
• They should use recent generation SLR digital cameras or, if they use film, have access to a scanner to scan and send you low resolution proofs. There is nothing wrong, if the photographer is good, to have them send you the slides, as photographers have done for decades. You can then scan them with a professional shop in your location. This will add to the time curve but the results will be excellent.
• They should have the ability to show you some of their work. They can do so via the internet or send you a few printed images.
• They should speak your own language or have access to someone who can translate. There is never a need for intense dialogue with the photographer, but they should have the ability to clearly understand the mission of the shoot.
• They should ideally be familiar with the subject matter. If you need a shot of military action, it's nice to have a photographer who has shot military images previously.
• Can you pay them by credit card or bank transfer. Just make sure because in some countries a photographer will actually not have a bank account and will only work with cash. The main photographer of an African president that worked on a shoot with us was actually in this situation and we had to pay him directly.

None of the above are essential. They are guidelines to help you narrow down the right photographer. The most important one is the photographer's ability to deliver the right shot and the best indication is to look at her or his work.

The questions are fine, but how do you actually find the photographer?

In most countries, people who open a photography shop do so not because they are businesspeople or devoted shop owners but because they are photographers. Find a photo shop and you will likely find a photographer. If they are not photographers, they will know who is. The first place to look for is there. Find the city or country's largest or best established photo shop.

In larger countries, you will likely find a professional association. Many have websites with photographers' portfolios and their contact information.

The final route is a little more time consuming but yields great results. Get the name of the communications or marketing manager of a major corporation or civil society organisation that works locally. They will more than likely know a photographer and will tell you how that photographer works. Though last in our list, this is the best route by far. Other referees can be a local faith based group, printers or even city hall. One group you might consider staying away from is the one most people think of first, an advertising agency. You will find an agency even in the smallest capital in the poorest country. But you will find that they will usually try to put forward someone from inside the agency who too often is not a highly qualified photographer. Or if they do put you in touch with a bona-fide photographer, the price will have been heavily spiked as they inject their commission.

Projects with great images stick in people's minds. Those with lousy images are often ridiculed. If you factor in the cost of having a few great shots you will see that it usually represents less than 5% of the total budget. It's worth spending that kind of money on improving the message.