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 [F1140] => Anette Bruzan [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 [F201 or E132] => Camilla Sjödin Lindqvist [E1] => Camilla Wirseen [F115] => Carl Johan Rönn [F1162] => Catarina Kent [E8] => Cecilia Enholm [F289] => Cecilia Möller [F188] => Charlie Drevstam [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 [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 [F1178] => Hanna Keiser [F290] => Hannes Söderlund [F247 or N105] => Hans Berggren [F103] => Hans Bjurling [F189] => Hans Carlén [N20] => Hans Geijer [E25] => Hans Granqvist [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 [F1174] => Jennifer Nilsson [E316] => Jenny Gaulitz [F1150] => Jenny Hammar [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) [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 [N97 or E115 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 [F1169] => Maritha Estvall [F128] => Mårten Adolfson [N94] => Mårten Dalfors [N59] => Martin Almqvist [E5] => Martin Axkull [R182] => Maskot Bildbyrå AB [F239] => Matilda Lindeblad [F1011] => Mats Lind [F118] => Mats Widén [N85] => Mauro Rongione [F180] => Max Brouwers [N63] => Michael Freuding [F1014] => Michael Jönsson [F120] => Mikael Dubois [F1088 or N164] => 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 [F221] => Per Ranung [E221] => Pernilla Hed [F1146] => Pernilla Jangendahl Lilja [E330] => Pernilla Zetterman [F1161] => Pernille Tofte [E179 or F241] => 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 [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 [F1165] => Wag The Dog [F273] => Wenblad-Nuhma )
Laughing women sitting in bus, ima196552

Communicate authenticity
– the how-tos!
Do you want your communication to be perceived as genuine? Well, then don't miss our tips on what to consider when selecting images.

Karin Sandelin at Kantar Sifo explains why it is so important to use images that feel credible and what is at stake if you don't.

Five important tips!
Woman renovating kitchen, ima204103
Father with baby at home, ima195961
1. Your images should speak the same language as your target audience
Use images that appear to be taken in a context your audience recognizes. There are many elements in an image that do just this, like lighting, styling, even details such as the appearance of painted lines on roads. Look at your image and try to determine if it feels like the "here and now" or if it's rather foreign to your audience's everyday life and reality.

Woman and child in front of mirror, ima199012
Baby making face, ima195959
2. Avoid images that are too perfect
If you want your images to be perceived as authentic, they cannot seem arranged or staged. We often experience imperfection as being human and genuine, that is, something that goes against exact repetition, symmetry and order.
Smiling senior woman playing cards, masma68872
Footprints on a jetty, ima67194
3. Highlight the irregular and human
That's why you should use images that show people and environments as they are, with the imperfections and irregularities that exist in real life. Images can be authentic and at the same time convey completely different brand identities depending on the image's other characteristics. 
Couple together, ima191923
Mother with sad toddler, ima196563
4. Use snapshots
Use snapshots as a way of showing authentic everyday life, a trip, or a holiday. Images that appear staged and arranged often lack authenticity. Emotional expressions such as genuine smiles, warm glances, surprised body language or graceful relaxation are easier to capture in the moment than in poses.

A moose on a foggy road, nat045240
Storforsen, culis09ad4ap
5. Nature images are a shortcut
Nature is closely linked to authenticity in our visual culture. Nature is not only a time marker but also a place marker, which helps to strengthen the foothold of the image. For example, we can easily detect on an unconscious level whether an image of nature resembles nature we are familiar with or a foreign place.

The importance of authenticity
It might seem paradoxical that a stock agency would emphasize the importance of authenticity in its photographs, but using credible images creates a sense of being real, regardless of the origin of the images. It is a matter of the images speaking the same language as the target group.
Karin Sandelin, photo: Kristian Pohl
About Karin Sandelin
As a semiotician, Karin Sandelin helps guide many of our biggest brands, organizations and authorities in the area of imagery to build strong and clear messages and brand identities.

Karin, why is it important that the images in my communication feel credible and genuine?
I would say that authenticity in images is related to relevance and the relationship to the target audience, to be credible, reliable, inspiring and even challenging – and in all this being specific, not generic. If you use a non-authentic imagery, you may as well be anyone.
Images can help to "fill in" your brand identity as well as social values such as who we are as employees of the company, how we view our customers, our aspirations and our ideals – who we want to be and who we want to become.
Authentic images can also contribute a context, they can tell you whether we are urban or rural, close to nature or more technocratic, local or global. Non-authentic images have a tendency to wear a contextless expression, it becomes unclear where or when the image is taken – the image doesn't have a real foothold.
What do I stand to lose in my communication if I use images that are not perceived as authentic?
A lot! Non-authentic images can be used much like icons, where they become more of a functional symbol, such as for finding Customer Service or for understanding that this brand works with Transportation. But authentic images can be not only functional, but also emotional – that is, add the important, brand-building layer of values, relevance, credibility, personality and so on.

At worst, non-authentic images can cause the recipient to be suspicious. "Is this a scam?" A generic expression can be suspected of being a forgery, a wolf in sheep's clothing – for example, a fake website. Often, poorly chosen generic images can also contradict and weaken the message, and by extension, the brand. For instance, this may happen if you want to be perceived as local and modern, but choose images that are not perceived to be authentic to your market, in the present day. What everyday life looks like is now in flux, and that makes it all the more important to have a vibrant, updated image bank.

Read more about image communication!
Photographers: Stina Gränfors (IMA196552, IMA204103, IMA195961, IMA195959, IMA191923, IMA196563 ), Plattform (IMA199012 ), Maskot images (MASMA68872 ), Ulf Huett Nilsson (IMA67194 ), Kent Storm ( IMA67194 ), Cultura Creative (CULIS09AD4AP) and Kristian Pohl.