Filter
images
Array ( [F195] => A&Me [F1160] => Agnes Gällhagen [F229] => Alex & Martin Photographers [F133] => Alexander Crispin [F268] => Alicia Swedenborg [F1149] => Amanda Falkman [N10] => Anders Haglund [E14] => Anders Kristensson [N61] => Anders Modig [F198] => Andreas Kindler [F1002] => Andreas Varro [E231] => Ann Lindberg [F117] => Anna Emilia Lundgren [F190] => Anna Huerta [F1155] => Anna Johnsson [F277 or E133] => Anna Kern [E21] => Anna Larsson [F272] => Anna Roström [F119] => Anna Skoog [E328] => Anne Nyblaeus [F274] => Annika Persson [F191] => Annika Vannerus [E306] => Anthony Hill [N11] => Antti Leinonen [N67] => Åsa Lindholm [F211] => Åsa Siller Kristensson [E149] => Athina Strataki [F1122] => Beatrice Törnros [N50] => Benny Karlsson [N12] => Berit Djuse [F284] => Björn Dahlgren [F1117] => Bodil Bergqvist [F262] => Bruno Ehrs [F288] => Caluvafoto [E132 or F201] => Camilla Sjödin Lindqvist [E1] => Camilla Wirseen [F115] => Carl Johan Rönn [F1162] => Catarina Kent [E8] => Cecilia Enholm [F289] => Cecilia Möller [F188] => Charlie Drevstam [E160] => Chia N-Löfqvist [F1167] => Christian Ferm [F1008] => Christina Strehlow [F1067] => Christina Sundien [F228] => Conny Fridh [N16] => Dag Haugum [E192] => Dan Lepp [E336] => David Hamp [E7] => Dejan Antonijevic [F1003] => Depiction AB [N2] => Dick Clevestam [N58] => Eivor Rasehorn [E302 or F134] => Elisabeth Zeilon [F233] => Ellinor Hall [F199 or E94] => Elliot Elliot [F1012] => Emil Fagander [E329] => Emma Wallte [E270] => Erik Olsson [E323] => Eva Edsjö [F1001] => Eveline Johnsson [F172 or E321] => Ewa Ahlin [E205] => Florence Montmare [N96] => Fredrik Ludvigsson [F217 or E324] => Fredrik Nyman [F1024] => Fredrik Reuterhäll [N82] => Fredrik Schlyter [E267] => Fredrik Sweger [F135] => Göran Assner [N19] => Göran Nyrén [F143 or N104] => Håkan Hjort [F290] => Hannes Söderlund [F247 or N105] => Hans Berggren [F103] => Hans Bjurling [F189] => Hans Carlén [N20] => Hans Geijer [E25] => Hans Granqvist [E161] => Hans Nohlberg [F252] => Hasse Bengtsson [N22] => Hasse Schröder [N23] => Heikki Willamo [F285] => Helén Karlsson [F1010] => Helena Christerdotter [N168] => Henrik Karlsson [F1021] => Henrik Kindgren [F282] => Henrik Sellin [F207 or N75] => Henrik Trygg [F263] => Huett Lundström [F225] => Ingemar Lindewall [E338] => Ivar Hagren [F203] => Jakob Fridholm [N26] => Jan Pedersen [F235 or N166] => Jan Töve [N78] => Jarl von Scheele [E316] => Jenny Gaulitz [E55] => Jens Andersson [N27] => Jens Rydell [F218] => Jeppe Wikström [F276 or E325] => Johan Alp [N163] => Johan Hammar [F214] => Johan Ödmann [F204] => Johan Tholson [E307] => Johan Töpel [F279 or E322] => Johan Willner [F264] => Johanna Nyholm [E18] => John Eyre [F1130] => John Jacobson [F212] => Johnny Franzén [F1136] => Jonas Gunnarsson [F174] => Jonas Ingerstedt [F250] => Jonas Kullman [F140] => Jonn [N62] => Jörgen Schwartzkopf [N99] => Jörn Böhmer Olsen [F234] => Josefine Bolander [F219] => Juliana Wiklund [E326 or F245] => Kari Kohvakka [E318] => Karin Alfredsson [N29] => Karin Berglund [N30] => Karin Eriksson [F1016] => Karl Forsberg [F1157] => Karolina Ehrenpil [E32] => Karolina Kristensson [N53] => Kate Kärrberg [N4] => Kenneth Bengtsson [E332] => Kenneth Hellman [N28] => Kent Andersson [N32] => Kent Storm [N51] => Kjell Ljungström [F1005] => Krister Engström [F243] => Kristofer Samuelsson [F200] => L Ancheles [N55] => Lars Persson (P:sson) [F131] => Lars Stenman [F166] => Lars Thulin [F194] => Lars Trangius [E128] => Lars Wallin [N95] => Lars-Olof Johansson [N33] => Lena Ehrenström [F206] => Lena Granefelt [N64] => Lena Israelsson [F162] => Lena Koller [E305] => Lena Modigh [F275] => Lena Öritsland [F287] => Lieselotte Van Der Meijs [F1128] => Lina Arvidsson [F196] => Lina Fänge [F244 or N171] => Lina Karna Kippel [F295] => Linda Otterstedt [F292] => Lisa Björner [F1144] => Lisa Öberg [F1026] => Lisa Wikstrand [N34] => Magnus Elander [F160] => Magnus Fond [N36] => Magnus Melin [N76] => Magnus Nyman [F197 or E339] => Magnus Ragnvid [E115 or N97 or F381] => Malcolm Hanes [F1019] => Malin Kihlström [F1018] => Malin Mörner [E118] => Malte Danielsson [F227] => Marcus Carlsson [F1004] => Maria Cruseman [F293] => Maria Rosenlöf [E48] => Mario Clementi [F128] => Mårten Adolfson [N94] => Mårten Dalfors [N59] => Martin Almqvist [E5] => Martin Axkull [F213] => Martin Runeborg [R182] => Maskot Bildbyrå AB [F239] => Matilda Lindeblad [F107] => Mats Hallgren [F1011] => Mats Lind [F118] => Mats Widén [N85] => Mauro Rongione [F180] => Max Brouwers [N63] => Michael Freuding [F1014] => Michael Jönsson [F120] => Mikael Dubois [N164 or F1088] => Mikael Svensson [N77] => Mikael Westh [F265] => Mikkel Örstedholm [F283] => Monika Manowska [E333] => Morgan Karlsson [F179] => Nicho Södling [F1045] => Nicklas Blom [F251] => Nicklas Rudfell [F1025] => Niclas Vestefjell [F176] => Niklas Bernstone [F266] => Nixon Johansen Cáceres [F123] => Olof Hedtjärn [F1129] => Oscar Wettersten [F171] => Pål Rödahl [N60] => Pär Brännström [E147] => Patrik Engquist [E140] => Peder Björkegren [E240] => Pekka Stålnacke [E74] => Pelle Berglund [F125] => Per Dahl [F224] => Per Eriksson [E224] => Per Kristiansen [F105] => Per Magnus Persson [F193] => Per Mäkitalo [F221] => Per Ranung [E221] => Pernilla Hed [F1146] => Pernilla Jangendahl Lilja [E330] => Pernilla Zetterman [F1161] => Pernille Tofte [F241 or E179] => Peter Carlsson [E3] => Peter Eriksson [F270] => Peter Hoelstad [F1022] => Peter Lydén [F223 or N162] => Peter Rutherhagen [F1127] => Peter Westrup [N35] => Petter Antonisen [F141] => Philip Laurell [F1137] => Philip Liljenberg [E75] => Pia Isaksson [F271] => Pia Ulin [F900] => Plattform [F800] => Plattform Film [E317] => Pontus Johansson [E315] => Ragnar Omarsson [F136] => Ralf Turander [F1020] => Rebecca Wallin [E9] => Rebecka Rasmusson [N79] => Reijo Juurinen [N39 or F240] => Roine Magnusson [E4] => Samir Soudah [F1151] => Sanne Brännström [E36] => Sara Danielsson [F1009] => Sara Winsnes [F1023] => Scandinav [F281] => Simon Bajada [N167] => Staffan Andersson [F237] => Staffan Andersson [F1013] => Stefan Isaksson [N42] => Stefan Lundgren [N8] => Stefan Örtenblad [N7] => Stefan Rosengren [F209] => Stefan Wettainen [F1166] => Stina Gränfors [F124] => Susanna Blåvarg [F167 or E320] => Susanne Kronholm [F208] => Susanne Walström [N40] => Sven Frändås [N41] => Sven Halling [N46] => Tero Niemi [E335] => Tine Poppe [E266] => Tobias Arnerlöv [E334] => Tobias Duveskog [F205] => Ulf Huett Nilsson [E145] => Urban Hedlund [F1118] => Viktor Holm [F192 or E319] => Vince Reichardt [F273] => Wenblad-Nuhma )
close
                                                                              
There's a new kid on the block
For years there has been talk about moving images becoming the next big thing, and 2016 is the year that it happens. Why does everyone want moving images right now and how can you get on board? We have peppered film expert Joakim Lindhé with some questions so that you can learn from his experience and get some sensible advice about using film. In the next two newsletters we will focus on moving images and Joakim will be with us the whole way. Here we go!
Hi Joakim! What is your line of work?
"Most of my professional life I have worked in television, as a reporter, editor and producer. Much of that time it has been in news and society, as well as culture, talk shows and several documentaries."
 
"Today I run Yellow Kid, a company that produces explanatory animated films. I also conduct training and give advice on moving images."
Why, in your opinion, do we want footage right now?
"When I started working with moving images, the cameras cost several hundred thousand, and distribution was via VHS cassettes or via a few established TV channels. Many of the financial and distribution barriers that used to exist have disappeared. Today, a smartphone might be all you need to make the film and start a channel that reaches around the world."
 
"At the same time, competition for consumer media time has increased dramatically. In the choice between reading a text or a watching a film, a film requires less effort from me as a media consumer, especially on a small screen display."  
What kind of communication needs are suitable for moving images?
"When it comes to emotions and action, film is unbeatable. Somewhat cynically, one could put it like this, 'people crying and fires do well on TV'."
 
"The moving image also does very well when trying to show how something works. On YouTube, the genre featuring tutorials and "how to" films, has experienced unbelievable growth. If you want to learn how to tie a neck tie, how to build a wooden deck or how to get a baby to stop crying, it is much easier to absorb when somebody shows in action how to do it, than to read about it."
What really makes a film good?
"My own simple yardstick: If I want to see it to the end = good. If I want to see it again = great. If I want to share it = awesome! But the answer may be quite different depending on your perspective. One can also say, a good film is whatever the viewer thinks is worthwhile to look at."
How does a film become meaningful to a viewer?
"One example is my daughter, she is about to get a driving license and wanted to learn how to back around a corner. On YouTube, she found a film that a driving school had produced. Technically, it sucks – not even sharp – but the teacher explains in a way that allows my daughter to get the information she needs. That particular video has over 100,000 views! Is it a good film? No, absolutely not, when I look with my professional TV eye, but it responds to a genuine need for those wanting to learn to back around a corner."
 
"If you can offer information that has clear value for a specific group, then viewers are very lenient regarding various technical flaws. That degree of tolerance is not available in all modes. An inexpensive, homemade film can be counterproductive if it is attempting to sell an expensive, quality product."
What do you think you can do better with video images compared to still images?
"Everything has its raison d'être, but a film often needs to be embedded with both text and still images."
 
"In turn, when telling a story, still images often requires being supplemented with text. All of that you can get into a film."
How to create a film that reaches out
• Start from the viewer's perspective. You can offer three different elements: information, fascination and identification. Do not inform. Tell stories and make the film to be more about people than technology or something else.
 
• Start by asking yourself: Why on earth would anyone want to watch this? What would make me want to watch this film to the end?
 
• Formulate the results you want the film to achieve. Then you can start thinking about what means you will use to achieve the goal. That's the easiest way to get it right.
 
• Think bigger than just the video itself. A good name, the right thumbnail image, a true content description, are also important things to consider for a film to be effective in the end.
How do you make a clear film brief? That and much more we will learn in the next newsletter on September 29!
Better in bulk.
Buy an image package!
It is the most cost effective way.
If you need more than one image, it is much less expensive to buy an image package. Image packages come in three sizes that you can buy directly from our website.