Johnér Images E Magazine

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BO BERGSTRÖM ON VISUAL COMMUNICATION TOP PHOTOGRAPHER PIA ULIN

DESIGNING BOOK COVERS

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ALL YOU NEED TO KNOW ABOUT DIGITAL QUALITY ACTION PHOTO SHOOT AT MACH 2 BECOME AN EVENT MASTER

TABLE OF CONTENT Do you also get a lot of newsletters?

Action photo shoot at Mach 2

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Pia Ulin’s subtle colour tones enchant us

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This is what we did

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Why care about the technological quality of an image?

Become an event master

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Sensitive publications cause unnecessary problems for image users About using images in sensitive contexts Confident models willing to participate Effective image searching starts here The image – an even stronger weapon

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Do not just think of images, imagine the message!

Let the picture do the work in social media!

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Always judge a book by its cover

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often start the day with clearing out the ever-growing stream of newsletters that flow into the e-mail inbox. Since I am interested in everything between heaven and earth, I am an easy target for any site that wants me to sign up for their mailing list. Also, I have a tendency to save many newsletters to read at a later time. I imagine that I will have more time then, and I do not want to miss anything! I’m guessing I’m not alone in this regard, and maybe you’ll recognize yourself in how you deal with your email inbox?

That there is fierce competition for attention in our email boxes is no exaggeration. Keeping that in mind, we’re very pleased with the response from the newsletter we have had the pleasure of creating this year that has been so overwhelmingly positive! I have been told that many readers feel that the content is interesting and relevant to their daily creative endeavours. It encourages us to continue interviewing interesting people and offering practical tips and knowledge from in and around the image world.

We also highlight and let our readers get acquainted with our exciting pho-

tographers. And not least, we offer plenty of eye candy and inspiration in the form of really good pictures!

When I think of all the newsletters I have saved, I wish that there had been some sort of summary so that I could quickly find the most essential. With that in mind we came up with the idea to create a digital magazine that would collect the best and most interesting articles from our own newsletter in one place. Here you can see the results, our first digital magazine!

I hope you find it both interesting reading and a pleasure for the eyes.

photo: michael wall

Do you also get a lot of newsletters?

Of course, I hope that our newsletter is not among those you have chosen not to read. Perhaps, they are waiting in your inbox? Or do you belong to the group that have not yet discovered them and wonder if they might be interesting for you? No matter how you found us, you are equally welcome. We are already planning for the contents of next year’s newsletters. If you are not already a subscriber, now is the time – you will not want to miss this! Enjoy!

Agneta Johnér C.O.B.

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ACTION PHOTO SHOOT AT MACH 2

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THE STORY BEHIND THE SHOOT Name: Hans Berggren Professional photographer since: 1997 Member of Johnér since: 2009 Favorite assignment: When the customer has high ambitions.

Best photo tip: Shooting against the light “is da shit”. (In all photo books it is always said that one should shoot with the sun from behind but this is a complete lie.

Hans Berggren is an expert at taking action shots. Recently, Hans had the unique opportunity to photograph military aircraft while in the air, with the JAS Gripen as the star of the show. We caught up with him to ask how this unique shoot took place.

How did you manage to get permission to photograph these airplanes?

It’s a pretty closed and secured environment.

“I don’t just work with still frames but also with filmography, and it was through this that I got a job with the Swedish Air Force to film these planes, and therefore I also had the opportunity to take the still shots as well.”

»We only flew for perhaps 2.5 hours, but the planning beforehand was considerably longer« weather, to Gotland or out over the Atlantic as was the case. It was like a mini side-trip.”

How does this type of shoot take place, on a practical level?

“It involves quite a huge amount of planning on the ground first. We only flew for perhaps 2.5 hours, but the planning beforehand was considerably longer because we had to decide on angles, motifs and to avoid misunderstandings, technical glitches, etc. It’s very expensive to make mistakes in this situation. Partly because the plane itself costs a lot to operate, but also, there is an enormous team involved, perhaps 20 people besides nat79052 hans berggren

What did you want to capture in these images?

“Obviously, I’ve not only shot the JAS on this job but also the Hercules and the radar planes for example.

So, the important thing for me was to portray that these planes represented much more than just military symbols. They are also strong symbols of speed, precision, cutting-edge knowledge, protection, teamwork, cooperation, school and education and engineering. Inside these planes is one of

Sweden’s foremost achievements in terms of technology.”

Tell us something funny that happened during this assignment.

“Well, we departed from Lidköping and the weather was terrible that day.

Rain was just pouring down, a real downpour. But that’s no problem for an airplane of this capacity. They just had to fly to where there was better

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the pilots, for example, the flight leader, ground staff and mechanics.”

Are you in the JAS during the shoot, how does that work?

“No, I am in a Hercules, the military’s largest transport plane. After take-off, when it’s time to shoot, they open all the doors and loading ramps. For photography, this gives a better end-result than photographing through a window. I am hooked onto a harness so that I can go forwards and take shots through the open doors and the loading ramps. The harness reaches exactly to the edge of the ramp so I am kept inside the plane and don’t fall out. It’s very cold, but it’s such a cool feeling!”

Is there anything specific to think about when photographing airplanes?

“Yes, take photographing the propellers of the Hercules plane, for instance. Here, I think it is important to work with as long a shutter speed as you dare to get the propellers in a blur of motion while at the same time the rest of the plane stays in focus.

If the propellers are sharp and are in focus, you will get the impression that the plane is standing still in the air!”

Isn’t it difficult to get permission to put these pictures up at an image agency?

“It wasn’t actually that complicated.

I got the approval with the simple explanation that the secret parts of the plane are not visible on the images. They also thought it was reasonable that some new images were made available for everyone’s use without restrictions. This way, they also had the opportunity to check through the images that were being released for use and they could make sure that they were happy with those images.”

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Pia Ulin’s subtle colour tones enchant us Or how a sauna can have a major influence on someone’s career.

Pia has a special capacity to focus on and get the best out of indoor environments and objects. She has a very special attenuated colour scale in her images that are in contrast to the garish and loud. Her images bear all the traces of her way of interpreting different types of light and her love for subtle tones. Slow living in its best form.

Hello Pia! What does photography mean to you?

“At first it was just a natural way of expressing myself. I liked exploring the medium. But after working as a photography assistant for a year, I went to the International Center of Photography in New York and after that it all just happened on the fly.

Since then I’ve been able to make a living doing what I love to do.”

Have you got a favourite motif?

“No … For me, photography is about light and composition. That’s what I’m fascinated by, regardless of whether I’m shooting furniture, portraits or landscapes.”

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According to Pia Ulin, she has always been taking photographs.

But it was a photography course in her hometown in Sundsvall, Sweden, that really got her interest going. Perhaps we could thank her parents’ sauna that Pia became a photographer. They let her put in a dark room in the family’s sauna and she had a free hand to do whatever she liked with it. Today, Pia works with customers like IKEA, Elle, Condé Nast Traveler and H&M, and has a studio in Brooklyn.

Are there other photographers that have inspired you?

“Yes, Francois Hallard, Franceca Woodman, Tim Walker and Tierney Gearon, for example …”

What is your creative process like?

“It’s quite uncomplicated, actually.

I arrive at a location and work with what’s there, in daylight only!”

Can you tell us something about your latest project?

“I’ve just started teaching in workshops – I get inspired and feel energized from it. As a participant in the workshops you get to test, experiment with and compose images under my guidance. “We travel to fantastic places, for example just recently we went to an old Citroën factory in Barcelona. It was unbelievably exciting!”

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Name: Pia Ulin Number of years as photographer: 20 Member of Johnér since: 2012 Favorite assignments: Interiors in different forms, catalogues, books, advertising … my own projects.

Best photo tip: Avoid direct sunlight. Indirect light is always more beautiful.

What do you think Johnér’s customers will like about your images?

“Perhaps, that they aren’t the typical imagery that many think about when they hear the words, “stock photo”.

My images have an authenticity, a realness in them that I believe makes them different and refreshing.”

»My images have an authenticity, a realness in them that I believe makes them different and refreshing.«

Lastly, have you got any tips for our readers? Anything at all?

“More and more Scandinavians are exploring Brooklyn – where I live – so maybe a restaurant tip would be good. Go to Prime Meats, 465 Court Street. Fantastic meat and sausage meals made the German way.”

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Really good pictures cost ‌

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Pho the tos for Web 32 U from SD

‌ much less than you think

Anyone looking for something special knows that buying high quality pays off. But more and more, people are discovering that really good pictures do not actually have to cost more. Are you ready for a pleasant surprise? Welcome to JohnĂŠr!

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Why care about the technolo

ogical quality of an image?

Why purchase an image that only provides half of what you need when you can have an image that works for everything?

How can you be sure that the image you purchase will work perfectly for its intended use? The motif bears a lot of meaning, it’s the first thing that attracts you. It is important that the image exudes what you want to say, the message you want to convey. To be able to deliver your message through images, as best as possible and without any doubt as to what you want to say, the image’s technological quality must be just as high as the quality of the motif.

A digital image is made up of image points (pixels, abbreviated as px), much like the grain in film. On a computer, the light value of every pixel is represented by a code of ones and zeroes. The size of an image is stated in pixels.

An image’s digital size (file size) is measured in kilobytes (kB), megabytes (MB) or gigabytes (GB).

The bit depth (also known as pixel depth or color depth) indicates how much information there is about the color in every pixel on the image. The more bits per pixel, the more available colors there are and the more exact the color rendering.

There are two ways of looking at colors; RGB for on-screen images and CMYK for print images. RGB images consist of three color channels – red, green and blue. An RGB image with eight bits per pixel has 256 possible values for every channel, which results in more than 16 million possible color values. RGB images with eight bits per channel (BCP) are sometimes called 24-bit images (8 bits × 3 channels = 24 data bits per pixel).

Technological quality is about size and resolution To be able to use images in different end-products such as in print, in web pages, on iPads, in slide shows, etc, requires a variety of conversions and adjustments. An image’s color spaces, resolution, sharpness, etc, must be adjusted in order to achieve the best possible quality, and convey the right message.

There is no point in using a larger image than what is necessary for the end-product. The image will not look better – it will only be heavier and 14

take up more data space. Using the size that is needed is best. Never use a smaller size as the image will only look pixelated.

The resolution and size of an image are important. These are area of constant development. Computer screens are becoming better and images can be shown in more detail, which places more demand on your images to have high technological quality. When you want to use an image on a website, you only need to be interested in how many pixels it should have, its height and width. Resolution is only interesting when the image is to be used in a physical form, i.e. when it will be printed out.

In the past, people used the abbreviation dpi (dots per inch) to describe the resolution of an image and other units. Nowadays we use dpi when talking about the resolution of a printer. And when we talk about digital images we use ppi (pixels per inch) instead.

The size of an image is also affected by the motif When you choose images for web usage, besides size, it is also important that you think about the contents of the motif. Small images with lots of detail and lines can make the image feel gritty and the motif will be harder to understand.

Simpler and clearer contents make it easier for the viewer to understand the message. When working with an image for a website, from time to time it’s a good idea to apply the helicopter perspective and look at the website as a whole.

If you are printing an image, bear in mind that the motif can play a vital role in what resolution you need.

An image that has many details in it requires a higher resolution but an image with fewer details can be printed with a lower resolution. Large images, banners for facades, for example, do not need to be printed in high resolution because you can’t see the image from close up anyway. If you are going to print an image, the resolution has to be adjusted. And different types of printing require different resolutions. Images should be adjusted to the different types of

breaks, the density of the grid, type of paper, coated or uncoated paper, etc.

Another thing that is important is to have the right color space. The eye sees colors in its own way but a screen will display colors in RGB. In order for printing technology to do justice to your image, it must be in the CMYK color model for fourcolor printing. You can then create an ICC profile (a character curve) for a specific printer, or for the screen on which your image will be displayed.

This way, the image can be adjusted to exactly how you want it.

Compare light and color areas for additional nuances Besides these different adjustments, it is also important that the image is complete. In image processing programs, it is very easy to make an image lighter or darker. A photograph that has been taken in the evening light and then brightened up too much on a computer may have problems with the shadows, where exposure isn’t very good.

Be sure to ensure that the register of midtones – that is, all the colors and nuances between black and white that your image contains – is kept so that there is as much information, as many nuances, as possible in the image. When midtones transfer into highlights (bright parts) and shadows (dark parts), it is important that the image has as many nuances (or tones) as possible so that hard edges, or straight blacks or whites, don’t occur.

Pace through and check the image at 100% its size, so that you can touch up and take away dust on the sensor, etc. Dust can be clearly seen as soft, darker round spots on large single-colored areas such as the sky.

The image sensor, CCD or CMOS, in a digital camera is equivalent to the film in an analogue camera. Then view the image at 50% to get a more realistic feel for what the end product will look like after printing. If you discover chromatic aberration (color bleeding) in the image, you can remedy this with a raw converter.

(When you need a large image file with as much information as possible, you should take photographs in raw formats and then develop the image

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digitally in a raw converter. If you are taking photographs for a website, just use the JPEG format. However, if you are taking spontaneous shots using JPEG, it would be a pity if you then wanted to make large-scale printouts of the images.)

In order for your image to look as fresh as possible, place a white image

»To be able to deliver your message through images, as best as possible and without any doubt as to what you want to say, the image’s technological quality must be just as high as the quality of the motif.«

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against a white background. This way you will be able to see how white it is and can adjust it accordingly.

Same with black, place a black image against a black background and you’ll see just how black it is. There are so many nuances of white and black that an image with white in it can so easily look a bit grey, and hence dirty.

Text by Maria Stranger.

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BECOME AN EVENT MASTER We have the insider tips!

Pehr Hante is Assistant Project Manager of the Home & Villa Fair at Stockholm International Fairs.

He has a lot of experience in putting together exhibitions and presentation stands, and we met to learn more about the foundation for successful trade fair participation.

Hi Pehr! What is your advice for those who are currently looking to participate in a trade exhibition?

The most important thing is to formulate the goal for taking part in the event. This lays the foundation for everything. The goal can be to make people buy, to book appointments or you may want to provide information about a new product or service. Only when the objective is clear can you proceed to the planning stage. You wouldn’t create stage decor and backdrops before the play is written.

Let’s imagine that the goal is set, and now it is time to create a stand or booth. What is important to think about?

Many people are not aware of the incredibly short amount of time you have to capture the visitor’s interest.

All you have is about three seconds in total. That is the time it takes for people to see the booth from a distance until they have passed, or hopefully stopped. Therefore, it is crucial to convey a simple and clear message, and that the booth stands out from the others.

How do you create a booth that stands out?

Work with the booth’s colour, shape, height and width, and keep to a theme or a general thought that will help to get the message across. Often, the actual event itself has a theme that you can exploit, otherwise you can create a theme for yourself. It is important to always keep in mind the message you want to convey. I remember, for example, an energy 16

efficiency themed event where an exhibitor used totally tartan furnishings in their stand aimed at Scots being thrifty. It was Very effective in terms of attention value.

Do you know of any tricks when it comes to driving traffic to one’s booth?

It’s a good idea to invest in marketing in various channels before the event.

Invite customers to your booth, send giveaways, and advertise your participation on social media, on the web, via e-mail, mailings and with flyers.

We have exhibition publications where one can put an advertisement, or attempt to interest the editorial department behind the exhibition magazine to write an article about your company if you have something extra interesting to say.

Many have activities and giveaways at their stand. What’s your experience with that?

Activities I think is a good way to draw people to the booth or stand.

Activities draw people, and people in turn attract more people. I’m a little more hesitant when it comes to giveaways. I mean, all these shoehorns and reflectors, it shows that exhibitors sometimes lack imagination. A giveaway needs to be something of greater value to the customer, such as a discount offer or something like that. A good giveaway will add value for the recipients and tell them something about your company.

How should one think about the message one wishes to convey at the fair?

Often exhibitors have way too many messages. The main message becomes unclear. Start by going back to square one, in other words, what is the purpose of your participation at the event? Consider everything you want to say, and when you think you have been clear, try to be even clearer. That also goes for the graphic material.

How to design the booth • Your objective for the event and the message you want to convey should be at the foundation of the design of the booth and of the exhibition material.

• Work with all the senses, move the visitors emotionally. Dare to flaunt, strut your stuff! Use height, build the walls to 3-4 metres instead of the standard dimension of 2.5 metres. That’s an easy way to stand out. Do not forget to work on the lighting.

• The graphic material in the booth or stand should be clear and with few messages. Consider the readability of the text and do not place signs where visitors can obscure the text.

• Currently, many use photo wallpaper. It’s important to have a calm picture if you want text on the walls in the picture. Consider having pictures speak for themselves and omit text.

• Have nothing physical in the way that prevents the visitor from entering the booth. If you want to use a stone wall, for example, do not place it in front of the booth, place it alongside the walls.

• If the booth has walls, leave the roll-ups at home. Rather use signs that you attach to the walls instead. Leverage the floor space! Use a different mat or photo stickers, for example.

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photo: stockholmsmässan photo: karl gabor

Pehr Hante, Assistant Project Manager of the Home & Villa Fair at Stockholm International Fairs.

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»It’s a really common mistake not to work with the lighting. It makes such an incredible difference if you use more than just standard spotlights.«

You work a lot with events, do you see any recurring mistakes that exhibitors make?

It’s a really common mistake not to work with the lighting. It makes such an incredible difference if you use more than just standard spotlights.

Few exhibitors think about this, and just through good lighting, your stand will get noticed. Put lights on billboards and use light to create an atmosphere, and a certain mood in the booth.

Another common mistake is the personal conduct of people working the stand. I have seen many examples where staff are deeply absorbed in their mobile phone or a laptop instead of being inviting and active.

Reach out and invite people to your booth!

When the event is over, what does one need to think about?

After the event, it’s all about two things; evaluation and follow-up.

What happened and why? Did you make the objective of the event?

What can you do better?

The follow-up of leads and e-mail addresses is another chance to stand out and make a lasting impression.

It’s really important to give rapid feedback with neat mailings or something similar. Offer the readers something, tell them about the fair. Take care of those who have shown interest! But whatever you do, the activities you choose should be related to the purpose of your participation at the event.

So in conclusion, to sum up, what are your three top tips for participation in an event?

First decide on the objective. Use clear messages and focus on the lighting in the booth!

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»The Grandma trick« Bring someone to your booth who is not familiar with your business, like your Grandma.

Ask the person to look at the booth for about three seconds.

Afterwards, ask these questions: • What company is behind the booth?

• What does the company sell, or what message do they want to convey?

• Why should you visit the booth?

If the person cannot answer any one of these questions, then it is a clear sign that there are things in the booth’s design that can be improved in order to communicate more effectively.

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THIS IS WHAT WE DID The task: To create an enticing event stand for Johnér »The idea is to make the booth or stand a soothing element in an environment where the pace is otherwise stressful.«

Copywriter Maria Lindberg Howard and Art Director Michael Wall talk about the creative process behind creating a reusable and inviting event stand for Johnér. What were their thoughts and what were the results?

What was the assignment, and what was the brief ?

During this year, the customer will be attending a number of events that are all trade fairs, each one with a little different focus. The stand must fit into different types of exhibition environments (exhibition halls, congress halls, etc.) and it must appeal to people in different industries. In addition, the stand must be easily adaptable regarding size.

What message did you want to convey with the booth? What were your ideas when working on the concept?

At trade shows a company has very little time to get visitors to stop and become curious about the booth.

Since the customer sells something as abstract as images, and most trade show visitors are unaccustomed image buyers, we immediately knew

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that we wanted to convey a feeling, and not a potential message to buy.

Emotions are more direct and often you remember them long afterwards.

What does the booth look like? And why?

The stand consists of three roll-ups, a table and two chairs and a green mat. Two roll-ups shows show closeups of lilac bushes in full bloom, and the third one shows a table in a lilac arbour where a summer meal has been set. The furniture in the booth is the same as in the middle picture in the background – white summer furniture. The idea is that the furniture is to be supplemented with blankets, pillows, lemonade, pastries and other summer seasonal props that will fit the type of visitors to the current exhibition. Birdsong, refreshing raspberry lemonade and the smell of freshly baked cinnamon buns are other ways to create a cozy feeling and a positive link to the exhibitor.

What were your thoughts regarding the imagery, and the selection of the pictures?

The idea is to make the booth a

soothing element in an environment where the pace is otherwise stressful. It will get visitors to slow down and entice them to settle down in the arbour. We all have fond memories of our childhood summers so for booth staff the booth’s appearance in itself is a “conversation piece” that makes it easy to start a conversation with visitors. The appearance is closely linked with what Johnér sells and stands for.

What do you think are the three most important things to consider before participation in an event?

Consider the booth space in the exhibition hall and adapt accordingly.

The booth we have created is easy to change in size and content. And think carefully about what you want your visitors to think, feel and do when they visit the booth or stand.

Make sure they take away something that will make them remember you.

Simply handing out brochures or other printed material is rarely good enough. Rather use a giveaway that is linked to something the visitors have seen in the stand or booth – something that makes the follow-up feel easy and natural.

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»…we wanted to convey a feeling, and not a potential message to buy.«

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Copywriter Maria Lindberg Howard och Art Director Michael Wall.

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»A simple rule of thumb is that if you would feel uncomfortable being seen in a particular context, there is reason to believe that the depicted model also may feel uncomfortable.«

Sensitive publications cause unnecessary problems for image users We have all seen them, publications using pictures of people illustrating sensitive topics such as cancer insurance, dating sites and survivor benefits. Become a smarter image user and learn how to deal with the grey areas regarding image use.

A publication is considered sensitive when images of identifiable people are used in contexts that might offend the portrayed person. The press code of ethics is a good basis to start from.

The idea is to provide individuals with protection against publicity damages beyond what the law pro22

vides. A simple rule of thumb is that if you would feel uncomfortable being seen in a particular context, there is reason to believe that the depicted model also may feel uncomfortable.

In that case be sure to contact us to obtain additional permission from the model!

We have written model permission agreements and contact information so that we can contact the model in question and ask for additional permission for a sensitive publication. Should the model decline, it means that we have stopped a problem before the publication has

taken place, and no bad publicity has occurred to you or your customer.

When there is a negative response from the model to a particular publication we will gladly help you to find a similar picture.

Typical contexts that you should carefully consider before you post a picture of an identifiable model are drugs, disease or other medical problems. Other contexts involve death, politics, dating sites and social issues.

Testimonial advertising may be particularly sensitive, where the model may be perceived as having been quoted.

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Our world is overflowing with photographic images. Pictures in the newspaper, images on social media, photos online, pictures on billboards on the city streets, squares and public transport. At the same time, our fear of appearing in pictures or having our names associated with sensitive situations, is on the rise. Suddenly seeing ourselves in advertising for a company’s products or services may be at least as sensitive as having images of ourselves, a bit tipsy or dancing at a recent office party, shared on Facebook.

We live in a world full of photographic images. They are there when we wake up in the morning and follow us all through the day until we turn off the light for the night.

Pictures in the newspaper, images on social media, photos online, pictures on billboards on the city streets, squares and public transport. Not to mention all the images on the various daily television programs. The old adage that a picture is worth a thousand words has become more valid than ever. Pictures stick out from the overwhelming flow of media, and they affect us immediately in a way that text rarely does.

Consent is required in most cases At the same time, people’s fear regarding appearing in pictures or having their names associated with sensitive situations, is on the rise.

Seeing themselves in advertising for someone else’s products or services may be at least as sensitive as finding pictures of themselves on Facebook, a bit tipsy or dancing at a recent office party.

In many countries legislatures have made attempts to regulate various types of intrusive image use. If it involves commercial advertising, it requires consent from the living

and identifiable person depicted.

Photos of identifiable people can also be equated with the handling of personal data. Consent is always required when such images are used digitally, are searchable, or threaten to violate anyone’s privacy. Exemption from the requirement for consent may apply if the purpose is journalistic or artistic, or if, as in Sweden, there is an automatic or voluntary impediment to publication with a designated publisher.

Grey area involves ethical considerations Alongside the legislation, there is a grey area that is more about ethical considerations than legal violations.

For instance, during a general election in Sweden, anyone may appear in a political party poster campaign without our consent. The same applies to advertising for a non-profit organization or other non-profit activities, whatever values they may represent. If there is only a valid impediment to publication with a publisher your name can appear in a database filled with legal judgments and there is nothing legally you can do to stop it.

Written consent often required In the area of photography, there is something called a Model Release Form. It is a written consent from people in the image, which governs the legal requirement for consent.

Most professional photographers are well aware of the importance of using written Model Release Forms. Oral consent, legally speaking, implies the same as above, but if for some reason there is disagreement, oral consent is far more difficult to prove. There are hardly any image resource agencies that do not have written contract terms with the photographer stating that they always must obtain valid consent for the pictures that are submitted. If there is no written consent,

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photo: johan westin

About using images in sensitive contexts »Keeping track of when the consent of the people depicted is required by law can save a lot of time and money. The awareness among the public about what the law says, and what rights we have as depicted people, grows every day.«

this must be clearly indicated. This often means that the picture is more difficult to sell because of potential licensing limitations.

It is important to know that depicted people always have the right to revoke their written consent. Anything else would be directly unreasonable under Swedish contract law.

People who previously have given their consent to use the image, may suddenly have reason to change their mind, due to job change, changes in family relations, etc.

Image agencies help to prevent problems In a photo agency’s Terms of Service to the customer, it is often stipulated that licensed images may not be used in offensive contexts. These usually involve situations where common sense says that the person depicted should have been asked even though there is no legal requirement. If there is any doubt from the user regarding where the line is drawn, it might be a good idea to turn to the photo agency for advice. The photo agency will try to ensure that the image consent is properly obtained for that use, if only to prevent future issues.

Keeping track of when the consent of the people depicted is required by law can save a lot of time and money.

Because one thing is certain, awareness among the public about what the law says, and what rights we have as depicted people, grows every day.

Otherwise, there are certainly lawyers with sufficient knowledge that would gladly inform individuals if and when they occur in different sensitive image contexts, in which consent is required.

Catharina Ekdahl of Ekdahls Juridik & Föreläsning, Swedish lawyer specializing in photography related legal issues.

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Confident models willing to The health magazine “1177 Vårdguiden” is regularly sent out to all residents in Stockholm by the Stockholm County Council. Ulf Huett Nilsson, who also happens to be one of Johnér’s most popular photographers, does assignments for the magazine on a regular basis. We asked Ulf a few questions regarding his thoughts on the topic of using images in sensitive contexts.

Regarding your assignments for “1177 Vårdguiden”, what is your concern when photographing people and the topic is of a sensitive nature?

“We ensure that those taking part in the magazine articles are aware from the beginning that photography is 26

included, so they have the opportunity to decline. Total transparency and providing as much information as possible is important! Sometimes when there are articles of a more general nature, we use models from a model agency, or friends and family.

However, it is equally important to provide information to the models so that everyone knows all the facts up front. Before the magazine/web site is printed and published, approval is required from all participants.”

What type of information do you usually give to models you photograph when the pictures end up at an image agency?

“It is always my ambition to tell it like

it is. That the images may end up in different types of context. The general rule is that as a model you are to be contacted if the image will be used in a political situation, or any other situation that is regarded sensitive. It provides the models security, which encourages them to allow inclusion in an image agency’s catalog.”

Do you have any experience with models being disappointed after having pictures from an image agency published?

“No, not me personally. However, I have been disappointed because models have declined consent in contexts that I don’t feel are sensitive.

But obviously it is important they are

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o participate »Be careful to communicate where and how the images will be used to give the agency the opportunity to contact models in situations that may be deemed sensitive.«

allowed to speak up. I carefully consider which pictures I leave with the image agency. I always ask myself if I am absolutely sure that everything is ok in every way!

You are one of Johnér’s bestselling photographers and have many images with people in our collection. What would you want customers to think about when purchasing stock photography of people?

“That they are careful to communicate where and how the images will be used to give the agency the opportunity to contact models in situations that may be deemed sensitive.”

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Really good pictures cost ‌

Pho the tos for Web 32 U from SD

‌ much less than you think!

Anyone that follows the big shoals is not visible. When you dare to swim against the current, you get a deeper experience.

Welcome to JohnĂŠr!

ima78715 jonas ingerstedt

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Effective image searching starts here Freelance picture editor, Anna-Lena Ståhl, gives you the image seeker’s six commandments “A quick search on ‘woman’ can lead to anything from 100,000 to 5.8 million hits at various image agencies. Is it any wonder that we picture searchers suffer dejection sometimes? Even though I have worked in and near image agencies since my first summer job, I still do not always find what I’m looking for quickly enough. So how can people like you, who do not have this as a full time job, find the right image?

Well, there are some tricks. Tricks that I now will offer you in terms of the image seeker’s six commandments.”

1) Thou shalt take picture searches seriously In the unimaginable amount of information we face daily, pictures can help us to read and assess whether a particular text is worth our precious time. You should not look too quickly for a fill picture, but you should remember that the image is your most powerful weapon for calling attention to your message.

The picture’s role today is monumental, so let’s accept it and don’t forget that fact when you sit and wade through stock photography and feel like giving up. It is worth spending time to find the right image, and you actually need to allow it to take some time.

It’s time well spent!

2) Thou shalt organize your thoughts Before you start looking for a picture, you should be clear about what exactly you are looking for. I mean really be clear. Form a structure of the motive or emotion you want to convey. Then weave those thoughts into the target audience you want to reach, and which images will increase attention value or credibility.

In general, images of people are a good choice in order to capture the interest of the recipient. If you are free to choose, the eyes find landscape format pictures more pleasing. These images envelop the viewer instead of making the eye zig-zag from the top down – as in a portrait format picture.

Our eyes are also attracted by geometric shapes. Look for pictures that you yourself like – surely, you can often find a geometric shape or connection in an image? A diagonal, a circle?

Another classic approach is to never let the headline and picture illustrate the same thing. The brain is activated and works to attempt to understand the context.

3) Thou shalt give the search engine a chance to show you great pictures The most common mistake we as image seekers make is that we forget one very important step in the process. The step where you convert concepts into symbols. Your task is thus to transform concepts into symbols and words that you can actually search for.

Few – if any – of the search engines in this industry will, in fact, give you a good result on words such as availability, reduced exclusion or citizen participation. You need to determine what it is you need to illustrate and what it means for you. Citizen participation might be a picture of street life in a city, a portrait of a happy person (who is a happy citizen participating) or something completely different, but make sure you translate what you want to find into simple symbols and words.

It is the words that will make it easier to find the image you’re looking for.

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If we return to the example of citizen participation, we can search instead for words and phrases like street life, portraits of people, city life, city people in action etc.

Another way to help the search engine is to not over specify what you are looking for. If you do not get a hit on “women dog sledding Alaska”, back up and look at more general terms such as “female dog winter USA”. Use the greatest common denominator instead of giving too many details.

4) Thou shalt identify every image agency’s specialty No matter what they say, there is no image agency that specializes in everything. It will save you time and frustration if you know where to find certain types of images. Why not contact picture agencies and ask them what kind of pictures they specialize in? You have no idea how much time that simple question can save you.

If I may take the opportunity to provide additional advice here, I want to encourage you to use images that speak the same language as the people you are trying to reach. You certainly don’t like dubbed advertising, so apply the same mindset to images.

If you feel that the image does not feel natural, your readers will feel the same way.

5) Thou shalt memorize the good keywords that simplify your life If you, like myself, search for pictures at Johnér periodically, I would like to share with you my experience: When I want to be inspired, I click on the link “new images” on the front page or I search for “conceptual” to be inspired by images that are not easily defined by common search terms.

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»So let’s agree not to clench your fist in your pocket in anger, instead, call the image agency next time you get stuck.«

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Good keywords at Johnér are: Copy Space – images that have space for text.

Eye contact – when I want pictures of people looking at the camera.

No people – when I do not want to include people in the pictures.

Natural models – models with a more relaxed and realistic look. However, a word of caution. Remember that your target group might want to identify with someone who is a few years younger than they really are, and be with people who look a little better than what they might in real life so do not fear naturally stylish models.

Not over styled but natural.

Scenic – beautiful nature views Still life – beautiful still life in various subjects such as nature, gardening, interior design

the image agency next time you get stuck. I promise, they will help you.

No one knows their archives better than the people working there!

Diversity – a good word to find people of different nationalities.

6) Thou shalt ask for help Any image agency worth its salt wants nothing more than to help you when you are stuck searching for an image. Imagine yourself being allowed to use everything you know about something and to help someone else to a fantastic result instead of something mediocre.

So let’s agree not to clench your fist in your pocket in anger, instead, call t h e be s t a rt ic l e s f ro m j o h n é r s n e w s l e t t e r s 2 01 4

foto: maria vatne jansson

Elin Amberg, Social Media Analyst at Wunderman & full-time consultant for Microsoft.

THE IMAGE – an even stronger weapon Today it is truer than ever that a picture is worth a thousand words.

In a time and age where words fly by in a steady stream, the influence of images continues to rise, not least of all the hectic flow of information from digital media. Images are used strategically in everything from SEO to interactive design, but have we have yet seen the full potential of pictures?

Properly used, an image can be your main attracting power. I personally became aware of this when I posted a picture but the accompanying text was lost at the time of publication.

Although I was aware of the image’s power, I was mildly surprised when it got almost the same estimated impact without the accompanying text. A

few days later it happened again, a new picture was published without its accompanying text, and this time the result of the involuntary experiment became even clearer.

The importance of images is also confirmed by the newer players on the market who have taken up space in social media; Pinterest, Instagram and Snapchat to name a few of the image-based media channels currently out there. The picture trend is also reflected in the strategic choices from large digital players. Google was early to buy YouTube, Facebook followed suit with its acquisition of Instagram and now Oculus Rift, while LinkedIn chose SlideShare. The major social networks have also further developed and improved their image space, in terms of size as well as the

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number of images per post. Currently it is even possible to attach additional pictures and tag users on Twitter.

This development allows media channels to maintain their unique character while approaching each other and appearing more mainstream. Who will be most successful is yet to be seen, the battle for the devoted followers favor both large channels and individual communicators. However, it is clear that the battle for attention right now is fought with pictures as a weapon.

»Properly used, an image can be your main attracting power.«

Elin Amberg, Social Media Analyst at Swedish communication agency Wunderman & full-time consultant for Microsoft

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Bo BergstrĂśm, Creative Director, lecturer, educator, author.

Do not just think of images, imagine the message!

All communicators want to reach out with their messages whether it be information, news or advertising. And it is undoubtedly the image, i.e. the photograph, film, or illustration that does the most important work to capture interest, affect and influence.

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Choose the right image for the right message Image work begins when a communications person, editor or advertising professional formulates a message that is intended for a specific target group. And that message must be seasoned with attractive text, design and color, but above all, an image.

Often, and especially in advertising, there are two types of messages to use. The first one promises to solve a problem, the second aims to create well-being.

If you, for example, want to provide information about a burglar alarm that solves the problem of recurrent home break-ins in one area, you should probably seek out a dark, dramatic nighttime photo of a house.

With such an image, a viewer can identify with, perhaps feel intimidated, and thus take the message to heart, and the result is hopefully a purchase. The picture conveys, in other words, the promise of a product that solves a problem.

In another context, you may want to convey a message that promises well-being, enjoyment and connection with other people. A healthy, fresh sparkling water creates pleasant company for a group of people around a garden table. If you portray it in a light, soft, shimmering photograph it awakens a desire and soon

we stand in front of the display case in the store. The image conveys, in other words, a promise of a product that creates well-being.

Enlist the help of image categorization The two examples above were perhaps simple and self-evident, but this is not always the case. Often, long discussions are required about which image or images best support the message.

A categorization like the above mentioned two groups can then come to the rescue.

The first category is known as window images, and include photographs, films and drawings, that in a straightforward and truthful manner attempts to reproduce reality, such as a person on the lawn or a colorful kite in the sky. The photographer opened his camera to the world in the same way that one opens a window.

The environment out there cannot be influenced to a high degree, and when the photographer takes the picture, it contains an objective depiction of the subject.

The second category is known as mirror images, and these reflect the person behind the camera. It is a directing and organizing approach to the subject, and is thereby depicted in a subjective manner. Imagine a suggestive face in motion and slightly

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unfocused, which conveys a sense of determination and commitment. “I photograph not what I see, but what I feel”, is usually how photographers describe how they work with mirror images.

Composing with good form So far we have covered the message and categorization. Now to the question of how we as picture viewers perceive images in the busy flow around us. It’s all about image composition.

Our brain has been endowed with a kind of sense of order, which helps us to bring order to the often chaotic world we live in. We try to put all signals from the outside world into manageable and understandable so-called configurations or entities outside our ability to see shapes and patterns.

There are both bad and good configurations in the outside world, as well as in photographs. The bad ones we reject because they are difficult to grasp when the eye wanders aimlessly about among completely diffuse picture elements.

The good configurations, on the other hand, are characterized by simplicity, clarity, contrast and dominance and catch us right away. They can be described as a figure, a kind of focal point, which more or less clearly takes a step forward towards

»Often, and especially in advertising, there are two types of messages to use. The first one promises to solve a problem, the second aims to create well-being.«

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ima67184 ulf huett nilsson

»Obviously, this visual entrance promotes the possibility of reaching the viewer.«

us, and stands out against the image background. This figure – the girl, the bicycle, the house – forms an entrance into the photograph and tells the viewer that this is where one should start to look, in the same way as a door to a house tells one that here is where you enter. Obviously, this visual entrance promotes the possibility of reaching the viewer.

Put images together effectively When images with exciting dominant elements are selected, there is obviously good reason to put them together in a pleasing way. How is this done? Well, there are two ways.

One way is to make them different or surprising and aims to strengthen the interest from the viewer’s side by letting the images contrast with each other, almost colliding. This can happen when images are reproduced on a spread in a catalog but also page after page on a website or in a magazine.

The aim is to counteract the predictable by enticingly placing bright

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images next to dark ones, using color versus black and white, closeness versus distance, diagonal versus horizontal symmetry versus asymmetry, dramatic versus non-dramatic.

This approach creates curiosity in the viewer, which stimulates and encourages them to delve deeper into the material.

Another way is to use continuity, and here there are no strong contrasts or clashes, just images of similar character locked together in a smooth, consistent and suggestive manner. Here also the viewer is encouraged to go deeper into the material as a kind of cinematic effect is created.

Let the text and image interact A picture is worth a thousand words.

Yes, you have heard that phrase a thousand times. But honestly, isn’t it just an old saying? Let us now kill that notion with the following reasoning: Just as a picture is worth a thousand words, a thousand words

say more than one picture. A thousand apples do not taste more than one pear, and a thousand pears taste not more than one apple. Apples taste nothing like a pear no matter how many there are. A thousand words says something other than a picture.

Words and pictures obviously say different things but despite (or because of) it seems they are constantly drawn to each other and then something always happens. They work together, they support each other, and they interact so that the message comes across.

And this interaction can occur in two ways In harmony, which means that text and images pretty much say the same thing. This harmony is great for informative and educational contexts, such as in a cookbook. For us to be able to cook up a delicious fish soup, the text and images need to interact closely. “Fillet the fish with a sharp knife, first do this …” says the text

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ima96429 johann nyholm

and the photo shows the same thing, the fish, the knife …

But the harmony is less effective in news reporting and advertising because it is almost disturbingly too obvious when the text and image repeat each other. For a picture of a summer dress the heading says “summer dress”. Not very enticing, right? Another type of interaction is needed, disharmony.

In disharmony, the text and image say different things and a communicative distance or gap arises. This gap makes us curious and encourages us to join the text and image so that we can understand the message. This results in participation and commitment from our side, which is necessary in all forms of communication.

A picture of an ear with the heading “Read a book”. But that does not register quite right with the viewer.

What has an ear and reading a book have to do with each other? Very soon the viewer realizes that the message is about an audiobook. For the picture

of the summer dress above, the headline now reads “25°C”.

The location has influence Communication occurs not only in the meeting between image and text, but also between the image and the location where it is rendered.

It is often expressed that the image is a universal language that extends over geographical, political and linguistic boundaries but this is not the case (with the exception of simple pictures, for example, a cat or a tree).

No, in reality, a photograph, a film clip or an illustration, is experienced and perceived quite differently in Los Angeles, Singapore, Nairobi, Kabul and Berlin. The differences can be heavens apart. What makes the difference naturally depends on the culture, religion, laws and regulations that strongly affect the experience. It is clear that each individual image is interpreted in its own way depending on the geographical circumstances.

Avoiding a communicative disas-

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ter requires careful research, surveys, and not least instinct regarding image selection.

Time also has influence There is much that affects experiences and interpretations of images.

This also includes time in the sense of what is happening in the public domain. The public domain is filled with many voices in conversation and discussion between people over café tables or on discussion programs on TV. The consequence is that this changes the interpretation of visual expressions. They are influenced by time, and this is particularly true when it has been a long time between the production of an image and the consumption of it. One could say that the time “consumes meanings and churns out new ones”. A photograph from the fifties today can transmit very inappropriate, and based on a message perspective, dangerous signals, for example regarding gender roles.

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rob321-4000 robert harding world imagery

»A chair in a photographic picture is interpreted simply as a chair.« Or?

Interpretation on two levels To interpret an image means to discern and understand its meaning. The viewer is often helped by a caption, but despite this, sometimes there is a misinterpretation, and the message does not get through.

It is obvious that the viewer creates and nourishes their own image. The eye and brain are influenced by experiences, memories, knowledge, expectations, prejudices, aspirations and, of course, also by the situation and context that the viewer is in at that moment. Therefore, the possibilities for interpretation are many and rich.

The image of a bike provokes adrenaline and fighting spirit in a racing cyclist, while a social anthropologist is fascinated by that conveyance because it is based on one of mankind’s most important and earliest inventions.

But there must be some kind of order in the world of pictures, right?

Yes, and it manifests itself in two levels of interpretation.

The first is comprised of a core meaning, or the basic meaning, and refers to the actual meaning when 40

most people in a group viewing a photo are in a kind of agreement to interpret it in much the same way.

The picture is clear and the image communication has great potential for success. A chair in a photograph is interpreted simply as a chair.

Now, however, it immediately becomes more difficult. If the viewing group delves deeper in the interpretation work, they soon find that the discussion becomes both intense and prolonged.

We are approaching the image’s additional connotation, which is strongly influenced by the viewer’s associations and experiences. The photograph becomes ambiguous and the communication possibilities can be lost.

Connotation can also be determined culturally and therefore shared by different groups with similar backgrounds and values. A distinct group has thus, so to speak, agreed on a certain interpretation.

For the discussion and analysis of possible images, one needs to get to grips with these two levels and decide if the photograph or film sequence is

interpreted in a manner consistent with the intent.

Spice it up and reap the benefits How do you become a skilled image communicator? In all probability you already are. But generally speaking, follow the advice and consider the approaches above and you will be a long way on the path to the difficult art of communication. It doesn’t hurt to add something more, something extra.

Search for that extra “spice” in the image. View photographs and film footage that adds personality or a measure of honesty, a teaspoon of ingenuity, plenty of human warmth, a lot of concern and ultimately, perhaps laced with humor that immediately creates sympathy.

Soon you can reap the effects of a good image selection. And you’ll get the best results, if you think less about the image and more about the message.

Bo Bergström, Creative Director, lecturer, educator, author

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photo: fredrik hjerling

Let the picture do the work in social media!

Why use images in social media?

“Because great pictures cut through the noise in a completely different way than text. There are plenty of statistics to show that pictures on Facebook and Twitter drive interest and traffic. We live in a very visual time and people like to take and look at pictures. So if you want to have success with your social media efforts your visual communications should be well thought out. Maybe even let the image ‘take the lead’, which can be a bit awkward for communicators who often come from a very text oriented world. The reward may be a stronger brand, more leads and increased visibility in all digital chan-

nels. I feel as though the image holds great importance in this kind of context where values are made up of relationships and recommendations.”

What kind of images are generally suitable for social media?

“A good picture tells a story. This applies to all media. But a shareable image is often a bit odd, funny or touching on a personal level. We look for pictures you can take in and that feel good enough to share with others. This can be a challenge for companies. Many of the images that are used for publication in customer magazines, on websites, press releases and annual reports are often offi-

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cious and doctored. The worst are the low-quality genre pictures that some insist on using. I think you should dare to be more personal and make an effort – let go of the tedious, serious and over selling. Dramaten, Sweden’s national theater, uses ‘behind the scenes’ info. A good example of a smart and thoughtful Instagram, and a fun use of the moving image. They have a clear goal and implement the investment in a consistent manner:” What should we think about?

1. What in our business is visually based looking from our audience’s perspective? Can we offer something that has benefits for them,

Benke Carlsson is vice-president of the Swedish communication agency “Publik”, and also an expert and a frequent lecturer on the subject of social media.

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»A good picture tells a story. This applies to all media.

But a shareable image is often a bit odd, funny or touching on a personal level.«

something that makes them a little happier or smarter?

2. What about our audience is visual?

Can we share or curate other people’s material to show that we love our business and care about the issues? Everything does not need to come from us ourselves.

3. What would you yourself share?

Step out of your business clothes and think about what attracts you to comments and encourages you to share content. What images make you choose a particular travel destination over another?

Is there a difference on how to use images in the different channels – Facebook, Instagram and Pinterest?

“The basis is the same. A really good picture does the job. The difference is who’s in the audience, how they use the different channels and then there are some prerequisites that are good to know. Most things are quickly learned, but your homework is to try to understand and interact with the intended audience. If you are selling things and want to use images, you should keep an eye on their buying habits. Where they are, what they are triggered by, and what do they need to do during the process to choose you? Social media, like Facebook, provide opportunities to test the impact of the images. So you can optimize your visual content incrementally. I would also like to strike a blow for photo blogs, so that you can create a more controlled area and a place where you can spread out a bit more.”

What is storytelling with the help of pictures in social media?

“It means that you trust the story that the picture tells, starting with the story instead of thinking ‘it would be fun to have a picture here.’ And here there are lots of possibilities with social media because the audience is already out there, it’s relatively easy and cheap to publish and distribute images. And for those willing and able to engage in said conversation, there is much to gain. Why not work with more pictures, cartoons or themes? Focus on drama and daring contrasts and reflect on what makes things exciting. Furthermore, the

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image is a fantastic way to highlight people. We get to see who they are, what they do and what they think.

In this area I think many have much left to do regarding social media. It is a little too stiff and boring. Equally important, listen to others’ stories about your business and your industry. Take note of them, spread them and let them create their own photo stories.”

Can you give more examples of companies that you think have a successful image strategy in social media? And why?

“I like what Doctors Without Borders does. They want the personal stories to show both what they do and what causes a particular humanitarian crises. Here, it is not the quality but the content that is important.

I also think the Swedish insurance company ”IF” is doing a good job, with the latest viral videos which offer knowledge, for example, about how to pack a suitcase (here you will find the video). WWF is in a class by itself. They are very successful and have a good cause that suits social media, but the success is based on a very well designed analysis of data and behavior.”

Benke Carlsson is vice-president of the Swedish communication agency “Publik”, and is also a frequent lecturer and course leader on the subject of social media. www.publik.se.

Benke Carlsson’s top tips on how to become better at using pictures in social media: • Consider images from the beginning. Too many ideas stall because we do not have time to get the right materials on time. And do not let the social media wind up at the end.

• Do not forget moving images.

Why not try to do interviews, invitations, instructions and introductions with videos? Try it on the next press release.

And avoid a camera standing at the back of the room with a clumsy sound recording during conferences.

• Try a little harder. Offer knowledge and ideas. Invite others to join in. Show you care by participating in the conversation.

• Keep an eye on the audience.

Ask yourself what they want.

And think about what they don’t want. Why not gather your thoughts in a picture policy?

• Try the unexpected or different. Is it possible to show things that only few people know? Trends, tips or tricks they may not have not thought of?

• See how the pros do it. Why not be inspired by those that are really successful? What is being done by Humans of New York that makes them so successful? (Humans of New York began as a photo blog showing portraits and stories about people living in New York.)

Currently, Humans of New York has 9.3 million followers on Facebook and has received numerous awards. Visit their website here!

• Have a budget. Good pictures cost money. Sometimes you need an illustration. Sometimes you need a really polished professional video. Don’t buy in to the notion that social media will always provide you with free images.

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ALWAYS JUDGE A BOOK

BY ITS COVER A book cover is actually a package that showcases the author as a brand and lets the book stand out from the competition. Many graphic designers dream about creating book covers, even though it is tricky work where many different people will have strong opinions during the process. Art director and graphic designer, Sofia Scheutz, is one of Sweden’s most sought after book cover designers. We met with Sophia for a chat about the creative process behind a book cover.

Hi Sophia! Tell us a bit about how the work on a book cover begins!

“Usually it starts with a briefing from the publisher, or I will write my own brief based on the book’s synopsis or manuscript. The manuscript is not always ready when I get into the process, because the book covers are many times created almost a year before the release date so that the title can be published in the company’s sales catalog.”

How do you go about, in concrete terms, determining the design of a cover?

“If the manuscript is complete I always read it, otherwise I start from the synopsis. The first thing I take note of is the atmosphere of the book and the genre. I look for specific details, everything that feels special

or is recurring in the text. I try to find the essence of both the atmosphere and the action – the book’s soul. A good cover reflects the soul of a book in a commercial way.”

Where do you find your inspiration?

“In the beginning I basically do a lot of image googling, and I also do searches at image agencies and sites like Pinterest for inspiration. Sometimes I have a clear idea from the start, other times I will get ideas from what I see. This helps the brain to start working.”

What do you think about in terms of the colors you use on the cover?

“I have always been told to avoid green on covers and recently I was told by a publisher that the statistics show that green books are actually inferior sellers. Red sells well, probably because of the added visibility. It’s not so strange, a dark blue or brown book automatically looks dull, and those colors do not grab attention as much as more lurid colors. More important than the color is that the cover should have contrast.”

have something living featured on the cover. Without it, something that captures and strikes the imagination is missing.”

What type of book cover do you yourself like?

“American and some British covers are fun to look at. American covers are more daring. They visualize the designer’s concept of the plot in a more abstract way. If I dare to generalize, Swedish publishers prefer a more illustrative and practical approach than idea-based. A good cover should be unexpected while remaining within the framework of the genre.”

»It’s harder to stand out if you do not have something living featured on the cover.«

Are there any more classic tricks that sell besides color and contrast?

“Human presence, or animals, something depicting life. That is often an ingredient on a selling cover. It’s harder to stand out if you do not

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Sofia Scheutz talks about some of her book covers: Novels in selection – Åsa Larsson “Here is a good example of how effective it is to go against clichés. Bright covers were not so common in the detective genre, but the brightness ties in well with the novels’ setting in northern Sweden.

Despite the bright colours, I think the dark mood is apparent. The covers are part of a series and it’s important that the books look different but still stick to the theme of the series. That is always a bit tricky.”

Över gränsen – Oline Stig “Here the cover expresses a sense of the whole theme of the short story collection in a more abstract way, which I like.

It’s my own illustration and I think the deer’s expression interact in interesting ways with the title ‘Över gränsen’ (which is wordplay for ‘over the limit’) and the basic theme and literary expression of the short stories.”

En nypa salt – Maria Grodin “The book with the title ‘En Nypa Salt’ (which translates into ‘A Pinch of Salt’) is a great example of how important a cover can be. It has sold extremely well in Sweden, and since the author is relatively unknown sales are based only on the cover. The atmosphere depicted on the cover fits so well with the story of Meg growing up with her eccentric mother. This cover is pretty typical of my work, I like to build up collages.”

Here and Now: Letters, 2008-2011 Paul Auster & J.M. Coetzee “I think this cover fits the target audience well and captures the content effectively. Here is a good example of what I mean by contrast. The airmail stripes are a nice symbol, since the book is about an exchange of letters between Coetzee and Auster. The stripes continue into the first spread, so it’s a lavish cover.”

The Fault in our Stars’ – John Green “The Swedish title of the bestseller ‘The Fault in our Stars’ by John Green is ‘Förr eller senare exploderar jag’ (‘Sooner or later I will explode’) and it recently became a movie. The book was first published as a youth title and I’m very happy with the cover. Having John Green himself liking the cover made me even happier. Prior to the book becoming a movie, he published the book again, but needed a new cover for the adult book shelf. I think that cover was also very good. It became a comic detail that the girl and the boy in the picture that I chose, are very reminiscent of the couple that later got the lead roles in the film.”

See the film clip where John Green praises the book cover: http://youtu.be/MhhU1JMqocE.

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This publication is a compilation of the chronicles published in Johnérs newsletter during 2014. All contents © Johnér Images and text authors.

Design: Michael Wall, www.michaelwall.se Text, unless otherwise mentioned: Anna-Lena Ståhl, www.inkrepublic.se Swedish text editing: Maria Lindberg Howard, www.beep.se English translation: Battisson Partners www.battisonpartners.com and Roger Howard, www.beep.se English text editing: Roger Howard, www.beep.se

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