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Jeff Lewis is an adventure and rock-climbing photographer located on the East Coast of Canada. He travels throughout the Western United States and Canada to capture fascinating images. He also dedicates his time to conducting photo tours and private workshops. To see more of his liveBooks8 website, visit www.jefflewisphotography.ca.
I first started with photography after a trip to SE Asia to go rock climbing. I wanted to be able to capture my travels and the landscapes around me to show people how amazing this world really is. When I returned from that trip, I began to shoot photos of my home, Jasper National Park, as well as when I would go climbing with my friend. After a few years working in the “real world”, I decided full-time photography was the path for me and I haven’t looked back since.
JL: Clean, Focused, Simple.
JL: I usually do updates 2-3 times a year, unless I complete a new body of work I’m excited about, then I’ll add it right away.
JL: I want those that visit my site to get a sense of who I am and what I do right away. As I mostly shoot landscaped and climbing, I try to choose the best images from those categories to show on the homepage. Hopefully those few images are enough to entice a longer visit, where someone can take a deeper look at my work.
JL: One of my favorite features is that I can go to the Content section, add a page and then make it invisible. That way I can work on it until I’m ready to launch, or until I have enough content so that it is not empty when I publish it. Also, the ability to publish with one click is quite nice as well.
JL: Take the time to make sure you have everything the way you want it. With the ability to make pages invisible or not publish changes right away, you can view your changes on your own before you publish to your entire web audience. I think it’s important when viewing a website to know that it’s a finished product and not a “work in progress”.
Have a website you’d like us to feature? Email us at email@example.com.
Chuck Haney is a professional freelance photographer/writer based in beautiful Whitefish, Montana. He travels extensively across the United States and Canada in pursuit of the finest and most intriguing images. His provocative use of natural light in landscape, wildlife, and outdoor sports images have drawn national acclaim and have landed him many assignments including advertising campaigns.
Chuck’s finest images grace the walls of many residential and public spaces. His travel and outdoor lifestyle articles have been featured in numerous national and regional publications; adding to 13 coffee table books, over 190 magazine covers, and numerous sole-photographer calendars to his credit. Chuck enjoys teaching a series of popular photography workshops across the country each year. To view more of Chuck’s work, please visit his liveBooks website: www.chuckhaney.com. Follow Chuck on Facebook and Instagram!
My career in landscape photography began gradually. I would go for bicycling excursions in nearby Glacier National Park and see all these wonderful scenes unfold before my eyes. Soon, I was returning with my SLR camera in tow. This was in the early 1990s when I learned to shoot with film and manual settings.
For me, a perfect landscape image is one that places the viewer into the scene by using a wide angle lens and lots of depth of field. The best shots have fleeting magical light that happens briefly during stormy weather patterns and invoke an emotion. It’s also important to carry the correct equipment. I, for one, cannot leave my home without a sturdy tripod. I always mention to my workshop students that a good tripod is your friend for life.
As for my projects – there is no single one that I can choose as my favorite. Actually, whatever I’m working on at the time is my favorite project. The scope of my portfolio is wide and vast and I enjoy the fact that I work on such a variety of subject matter. One week I am shooting city images for my new book, “Portrait of San Francisco” and the next week I find myself searching for interesting barns for stock use in calendars.
I shoot at a wealth of interesting places; my favorites vary based on the time of the year. I love shooting in the deserts in Spring, the Great Plains in early Summer, hardwood forests of the Midwest in Fall and ski action or quite winter scenes near my hometown of Whitefish, Montana.
I am passionate about my craft. I think this is well-represented in my Portfolios pages on liveBooks, which highlight my favorite and most popular images. I think a photographer does best when he/she shoots subjects that they enjoy…You can tell that I have a zest for many subjects!
One piece of advice that I can give to fellow landscape photographers is to get to know your location by being patient and to take a closer look at what is really around you. You will discover a whole new world that could easily just slip by without careful consideration and reflection.
Want to be featured as one of our guest bloggers? Email us at firstname.lastname@example.org!
Deborah Depolito is a skilled stylist that has 15+ years of experience under her belt. Working with world-renown clients such as Under Armour, Uber, McDonald’s, and Microsoft, it is clear why she is so sought-after in her industry. Her strong relationship with photographers and clients have allowed her to work with on various commercial and editorial campaigns. See more of her work at www.deborahdepolitostylist.com
When people think of styling, they quickly assume that it’s only related to getting the perfect outfit together. What most fail to see is that without a proper styling professional onboard an editorial project, the message being conveyed can be lost. Styling is so much more than it seems – it not only includes props, hair and make-up but also matching people to fit brands and products.
(Director: Gary Land // Executive Producer: Abe Sands // Photographer: Nick Taylor)
My keenly trained eye for the client’s mission and ever-evolving awareness of color and style ensures that my clients are happy with the end product, every time. This may seem like an easy task – in fact, it’s very difficult. When you’re styling, you not only have to put yourself in the company’s mindset but also in the client that they are gearing the service and/or product to.
I believe that it is my warm nature and sense of humor that allows me to complement my ability to dress talent in an authentic and beautiful way. Without this light-heartedness, the work would seem inauthentic and it would create an end-product that my clients would not be happy with.
Want to be featured as a guest blogger? Email us at email@example.com!
Meet Jason Halayko. Originally born in Victoria, B.C., Canada, he has called Japan home for the last 14 years. He currently focuses on shooting action sports for companies like Red Bull, which has him photographing everything from skateboarding to breakdancing. In addition, he can often be found taking portraits and photographing the streets, saying that he really enjoys anything that gets him behind the camera. His introduction to photography was back in high school, when his friend advised him to take a beginner photography course. It was a great class that taught Jason the fundamentals, and has since developed into a dynamic and action-packed photography career.
Check out all of the interesting things Jason has to say about what went into the creation of his new website, and then be sure to head over to jason-halayko.com to see his exciting portfolio.
Q: How would you describe the aesthetic of your website in three words?
JH: Clean, simple, intuitive.
Q: How do you choose the photos that you display on your homepage?
JH: I typically try to choose the newest photos, with the biggest impact, to show on my homepage. This is to try to hook viewers into checking out more of the website.
Q: How often do you typically update your website?
JH: I typically update my website whenever I get an image I really like and want to show to the world. This could be once a week, or every couple of months. It all depends on what I am shooting.
Q: What is your favorite new feature of liveBooks8?
JH: I think my favorite new feature of the site is the ability to quickly and easily change the layout of the photo pages to fit my design preferences.
Q: What’s one piece of advice you’d offer to someone designing their website?
JH: I would say keep it simple, and more is not better. Only use your best photos that you are most confident in, as viewers will quickly get bored if they have to search through a lot of mediocre images.
Have a website you’d like us to feature? Email us at firstname.lastname@example.org.
Angels Team Photographer and liveBooks Ambassador Matt Brown takes us behind the lens to describe the technical aspects and innovative considerations that went into the creation of the top 10 photos he captures during the 2015 season.
Camera Information: Nikon D4s 50 mm F/1.4 shutter speed 1/8000
“I always wanted to make a photo of Mike [Trout] taking the field smiling. It shows just how much he loves the game. Shooting it at F/1.4 adds to images and brings the focus more to Mike.” 8/2/15
Camera Information: Nikon D4s 600mm F/4 shutter speed 1/2000
“I loved that Albert took over the situation and stood up for Mike after the brush up with Kansas City.” 4/12/15
Camera Information: Nikon D4s 16mm F/4 shutter speed 1/250
“The Angels visit CHOC Children’s Hospital during the season. During this particular visit, Mike jumped into the red wagon. At times Mike forgets his size and that he’s not a little boy anymore.” 8/20/15
Camera Information: Nikon D4 16mm F/3.5 shutter speed 1/800
“I love the fact that Collin Cowgill never moved or looked at me as teammate Erick Aybar cleans his game glasses on his jersey. Being able to shoot from the dugout before the game brings a whole new level of access to the players.” 4/12/15
Camera Information: Nikon D4s 600mm F/4 shutter speed 1/2000
“No player likes being called out on strike three. So when it happened to David Freese I captured this nice moment when he talked to the umpire about it. I like the way he’s holding his bat and being calm during the conversation.” 4/25/15
Camera Information: Nikon D4 35mm F/4.5 shutter speed 1/640
“During batting practice, Albert hits in the group that takes the cages during the visitors’ warmup. So when he and Miguel Cabrera started talking about hitting I knew I wanted to capture the two of them together. Two of the best players to play baseball is always a good catch.” 5/28/15
Camera Information: Nikon D4s 400mm F/4 shutter speed 1/2000
“I love the loneliness of this photo. Clean walls and dark shadows. I know everyone has seen the shot of Mike climbing the wall to make the catch against Seattle. It’s great, but I like this type of image more because it won the game for us in Oakland. It’s all Mike, no ads, no TV cameras in the background. Just Mike doing what he does best.” 4/30/15
Camera Information: Nikon D4s 240mm F/4 shutter speed 1/400
“The veteran David Freese shares a cute moment with rookie Taylor Featherston before taking the field. Being the rookie can be tough on a baseball team.” 5/27/15
Camera Information: Nikon D4s 24mm F/5.6 shutter speed 1/800
“Angels bench coach Dino Ebel is always getting picked on by Albert and Erick. It happens more on the road. I captured poor Dino being swung in the air during batting practice in Oakland.” 4/28/15
Camera Information: Nikon D4s 70mm F/2.8 shutter speed 1/2500
“Over the last couple of years, the players have become very good at nailing their teammates during post-game interviews. In this photo, Hector Santiago sneaked up on Kole Calhoun and blasted him with a head shot of Bodyarmor. I love the spray and form created in the image.” 7/28/15
To read the original article, go here.
Guest post by liveBooks client Blair Bunting. Original post found here.
There are deadlines and then there are deadlines…this is the latter.
ASU’s advertising campaign is one that I have now shot for 10 years. It is one that I always use to push logistical boundaries that I had previously been inflexible towards, for the sake of art and knowledge. Photographing it is a practice in embracing the unknown and evaluating previously conceived notions of what is possible and what is not.
This year’s photoshoot existed well within the impossible…
For example, I usually shoot the ASU campaign the last week of May and deliver the images on deadline…August 1st. This way the designers at ASU can create layouts and posters, billboards and ticket stubs and all that’s in between in the two weeks before press deadline (August 14th).
However, this year was different, for ASU was in the midst of changing from Nike uniforms to Adidas. We knew going into April that this shoot could be a bit tighter on the deadline than usual. As May began, I already had laid out the images for the campaign and had my crew on stand-by on a moments notice if we needed to be at the studio. However, the new uniforms were not ready and so we found ourselves waiting…and then came June…and then went June.
It was looking like an impossible deadline at this point, for where I normally have 60 days for production, I would now have half.
AND THEN WENT JULY.
There comes a moment, at which one must release true control of a situation, and this was it. Any ideas that I had of a production schedule had to be let go. In a sense, if this campaign happened at all, it would be a very visceral knowledge of the process that would take over and one that only experience could teach.
August 1st: The deadline of the many campaigns of year’s past had arrived and passed. For me, it was a simple glass of scotch that evening and a comfort that only a purchase of a time machine (found on eBay) would make this one possible.
August 15th: The call saying that we would shoot in three days (yeah, August 18th), and we might be limited on jerseys for the guys to wear (oh the understatement). However, if there is one thing that I have learned about ASU, it is that their athletes are incredible and even the toughest challenges are easier with how much they help me out on set.
August 18th: The first day of the shoot had arrived and the crew that had been on standby for most of the summer for this one were ready. Even though we were months behind schedule, everyone was happy; for we knew what we had to do and knew that it could be a good time as well.
As the guys showed up to the studio, the wardrobe arrived as well. We had 10 athletes to photograph and one, yes ONE, pair of pants. Now we had that one pair in maroon and black, so technically that’s two. However, you may say, “Blair I thought ASU wears gold pants on occasion” and you would be correct.
Worry not, we had a pair of gold pants as well, with one minor caveat. You see, the only pair of Adidas football pants that existed in gold belonged to the ASU mascot, Sparky. For those of you who don’t know him, he is a devil that runs around the field and does push ups. The big issue is that Sparky has a tail. Some of you have figured out where this is going, and yes, the only pair of gold pants we had had a hole in the butt for his tail.
Remember, photoshoots will always make you stronger and more resourceful for the next one.
So we shot for two days on set and had the final images being delivered even when we showed up for day two. The reason it all happened is quite simple: incredible people. From crew to client to talent to retouching, everyone involved on this project didn’t worry about deadline, they just worried about doing their best and staying positive.
As much as being an advertising photographer is about being in control of a production, the true talent of one is measured when control is given up.
Do not miss the behind-the-scenes video, found here!
Guest Blog Post By Chris Humphreys
In late 2010, an old high school friend contacted me asking if I’d be interested in shooting sports. He worked for USA Today Sports Images and they were in need of more shooters out in Denver. Up to that point, my business had been focused almost exclusively on weddings and I had virtually no experience shooting sports. However, the idea of trying something different appealed to me, so I made the leap by purchasing a Canon 400mm f2.8 and bravely entered a whole new world.
To say the experience of going out to shoot sports is different than shooting weddings is, well, quite the understatement. In both activities you attach lenses to cameras, you dial up exposures, look through your viewfinder, and hit your shutter to take pictures. And while there’s also the pressure to perform, knowing that you don’t get a second chance if you miss a critical moment, that’s about where the similarities end. Whereas at weddings you are constantly interacting with the bride and groom, family, wedding party, and guests, at a professional sporting event interacting with a player is likely to get your credentials revoked. I’m always amused when folks ask me if I “know” Peyton Manning once they find out I photograph Broncos games from the sidelines. (The answer to that question is a resounding “No.”)
Further, at weddings you of course want to dress up nicely, in order to look professional and blend in with the crowd. On the other hand, with sports, it’s safe to say that I’ve never exactly worn a suit and tie to a game. In fact, I have an old tattered ripped up pair of jeans I refer to as my “football jeans.” I only wear them for football since I end up kneeling in the grass on the sidelines at a lot of Broncos and college football games and I would never want to subject a good pair of jeans to the punishment those take over the course of a season.
Despite all the differences between weddings and sports, I wholeheartedly profess that shooting sports has made me a better wedding photographer. Here are some of the things that I’ve learned (or become much better at) since shooting sports.
Without a doubt, this is probably the biggest lesson you must learn when you start heading out to professional sporting events. If you only expect yourself to be able to react to what is happening instead of anticipating it happening ahead of time, you will almost always be a step behind the action. Professional sports simply move too fast to expect yourself to react to what’s happening. You have to be constantly thinking ahead to what is most likely going to happen and where you need to be, before the play even begins. For instance, if I’m shooting baseball and there are runners on bases, I don’t usually follow the ball once it’s hit. I move my lens to where the final play is going to be. The speed of the game is simply too fast to try and follow with your lens.
With football, if it’s 3rd down and 20 yards to go, I’m thinking like a defensive coordinator and am probably going to follow the best wide receiver on the field with my lens because I know there’s a very good chance the ball is going to him. If I try to keep my lens trained on the ball from the time the quarterback has it to the time the wide receiver catches it, I will miss the play 95 times out of 100.
It’s amazing just how many times I’ve applied this lesson to weddings. When I’m photographing toasts at a reception and I’m listening to a funny story the father of the bride is telling to the crowd, I begin to anticipate at what point in the story everyone is about to laugh. And when that happens I’m already focused on the couple’s faces to capture that moment.
Or when the bride is walking down the aisle and I quickly move my camera to capture the groom’s reaction to seeing his bride for the first time, I’m also out of the corner of my eye looking to see if the mother of the groom is reacting to her son because there’s a very good chance the groom’s mom is probably more focused on her own son at that moment than the bride walking down the aisle. Who knows, if you’re lucky maybe the mom even gets out of her seat to give her son a hug as he tries to control his emotions.
These aren’t hard things to do, but they take practice, and more than anything they require a photographer to always be aware of what’s going on around him/her and thinking several steps ahead.
Stop Complaining About the Rules
I’ll admit as a wedding photographer I’ve privately rolled my eyes after getting a lecture from the “church lady” who tells me that I can only photograph from behind the last pew, that I can’t use flash, or that I can’t even be at the bottom of the aisle for when the bride comes down the aisle. After all, I want to provide the best photographs I can for my client and these “silly” rules keep me from doing that. If you start photographing sports however, particularly at the professional level, you’ll realize that you’re constantly restrained by rules. Rules about where you can shoot from. Rules about where and when you can move. Rules about what you can do with the images on the internet (and particularly social media). Rules about how some photographers from some agencies can shoot in specific sports, and photographers from other agencies can’t. Each league has it’s rules and beyond that every venue has certain rules as well. Some make total sense, others seem very arbitrary.
For instance, at Coors Field photographers can only walk on the field from one photo well to the other after the top of the 4th inning (photo wells are the on-field position in baseball where photographers shoot from – usually located next to the dugout). Any other time you have to walk up the stairs to the concourse and carefully weave yourself through the throngs of people as you make your way around the stadium, and then proceed to walk down the stairs (again dodging more throngs of people) to the photo well on that side. But why is it only after the top of the 4th inning can you make the much easier and quicker transition from one side of the field to the other? Why not after the top of the 5th? Or the bottom of the 7th? What difference could it possibly make? Other MLB baseball stadiums don’t have that restriction on photographers. Why does Coors Field find it necessary to make photographer’s lives harder?
I’ve come to the realization that these are simply dumb questions to ask. The fact is it doesn’t matter. Those are what the rules are and if you want to photograph at that venue you follow the rules. Period. (Breaking rules while photographing sports is never a “better to ask forgiveness than permission” type of situation. Always, always, always ask for permission if you think there’s even a chance you might be breaking a rule at a sporting event at the professional or collegiate level.) If you’re lucky enough to photograph a higher profile event such as an All Star game, a Superbowl, or a Conference Championship game, fully expect even more rules to magically appear. Again, just accept them and learn to live with them.
Most importantly, figure out how to create stellar images working within the rules. Because while you’re focused on complaining about the rules, some other photographer is focused on figuring out how to make great images working within the rules.
Tell the Story of the Day
Maybe this seems obvious, but for those who have been shooting weddings for years and who feel they’ve “seen it all” it’s very easy to get into a rhythm and go on auto pilot and to get the predictable shots you know work well and look good. In doing that though, you may completely miss capturing what the really important images are to the bride and groom because you’re just busy focusing on the poses and the types of images you’re used to getting.
One big misconception is that sports images are just about capturing amazing action shots. Certainly, that’s a part, but it’s not everything, You have to be aware of what happened during the game. Editors at newspapers and sports outlets expect you to know what ongoing story lines are going on with a team and who the most important players are for that game. It’s important to note that doesn’t always mean the star players. It could be the small forward who came in off the bench and managed to get a triple double. Or the right fielder who normally isn’t a star hitter and bats eighth in the lineup, but today had 4 RBIs and scored the game winning run.
Sometimes the story of the day is told in an emotional moment (either happy or sad). Capturing emotions and reactions are a huge part of sports photography and unlike at a wedding where photographers tend not to shoot the rare moment when someone is upset or disappointed (because what kind of bride wants to see images of people looking sad at her wedding), those types of moments tell the story in sports just as well as images communicating victory or triumph.
Sometimes, it’s about going a step further and trying to find that unusual image that tells the story of the day that you think other photographers aren’t capturing. This is particularly important with sports where you want to try to do something to differentiate yourself from the dozens of other photographers capturing the exact same event. Back during the 2013 AFC Conference Championship game, I captured an image of a Broncos cheerleader making snow angels in the confetti after her team’s victory celebration. There were easily over 30 photographers photographing the game, and so coming up with a truly unique image that not many other of the highly talented experienced photographers would have captured that communicated the Broncos winning was difficult, but that’s the job.
At a wedding there aren’t usually 30 other professional photographers that you’re competing with to get great images (hopefully not anyway!) but that should have no less impact on our desire to capture wonderfully unique images that tell the individual story of each couple. At one wedding I was at, the bride’s father had passed away when the bride was quite young and her grandfather was not only like a father figure for her, but clearly one of the people she was closest to in the whole world. Had I simply gotten stunning pictures of the bride and groom, but had failed to get great images of the bride and her grandfather, I would have completely failed at my job that day.
Sometimes the story of the day doesn’t revolve around a person or a specific relationship, but is instead something that goes wrong or unexpected like the weather. No matter what it is, if it has an impact on the day or is something you think the bride and groom will remember when they thing back on their wedding, make sure you have a picture that tells that aspect of the day.
Regardless of whether you ever have the opportunity to shoot sports, the important point is to step out of your comfort zone and try shooting something completely new. You might surprise yourself and discover new lessons for how to better photograph a subject or genre you’ve been covering for years.
Based out of Denver, CO, Chris Humphreys travels across Colorado and the rest of the United States photographing weddings for discerning couples who want their weddings captured in such a way as to be true to who they are.
In addition, when Chris isn’t photographing brides and grooms, he also freelances for USA Today Sports Images. Chris’ images have been featured in Sports Illustrated, USA Today, ESPN.com, CNN.com, The LA Times, The Chicago Tribune, and Late Night with Jimmy Fallon among others.
Chris is also a sought after speaker and teacher for other photographers.
Interested in learning about sports photography from one of Sports Illustrated’s top photographers? Join Peter Read Miller April 13-19 in Denver, Colorado, and get access to a variety of action packed sports from mountain biking and college football, to high school basketball, and amateur boxing during this weeklong workshop.
In addition to capturing the action on the field, a portion of the workshop will be spent on learning how to shape the light in both studio and on-location, arena lighting with strobes, and the set-up and use of remote cameras.
For maximum learning potential, participants of this workshop have the opportunity for their work to be personally reviewed and critiqued by Peter each day at one of Denver’s top commercial photography studios.
What you will learn:
Workshop fee: $1,995
Don’t miss out on the opportunity to gain a better understanding of how to turn good images into outstanding ones!
Learn more: www.peterreadmiller.com
When Joe McNally, a legendary photojournalist and lighting guru, stopped by the liveBooks office during some rare down time in San Francisco, I couldn’t resist setting up a video interview. (Thanks to videographer Drew Gurian.) Joe has contributed to National Geographic for 20 years and was a staff photographer for LIFE magazine. He works with huge commercial clients and produced a seminal portrait series of September 11 heroes. He’s also the author of two must-read instructional books and writes a very popular blog — which brings us to the video below.
Joe started his blog in 2008 after prodding from friends (and avid bloggers) including Moose Peterson, David Hobby, and Scott Kelby. Now the blog is an important part of his business, especially since “big pipelines” for assignments have dried up in recent years.
“Any photographer out there now is stitching together things,” he says. “Work comes now in all sorts of strange ways.” Smart photographers like Joe understand that blogs and social media are an important part of that patchwork. They bring in assignments, create buzz, and help build community with other top professionals. (If you haven’t seen Joe’s parody of Chase Jarvis’ Consequences of Creativity video, I recommend you watch that too.)
The following are ten things “not” to do to ensure your website remains listed on any search index and, most importantly, to ensure that people can find your work through search engines.
1. Keyword Stuffing: If you use the same keyword repeatedly within your website’s text or in your keyword tags, you’ll find yourself penalized and likely removed from the search results index. How much repetition is too much? Use a keyword density checker to make sure that you’re not over the legal limit. Experts say 3-7% for your major keywords and 1-2% for your minor keywords. We touched on this in our last blog post about keywording, Licensing Fundamentals: Keywording for Search Results.
2. Duplicate Content: Duplicate content deliberately tries to trick search engines into improving a website’s ranking. Search Engines have built-in algorithms that analyze pages with similar content. How much similarity are they looking for? Use this duplicate content tool to see if your pages duplicate too much information. If so, the search engines may omit your web pages or site from the search index. A good place to read more on duplicate content is the Google Webmaster Central Blog. If you need to see a more visual presentation on the subject, check out the blog posted by SEOMOZ.org.
3. Free-For-All Link Exchange Programs: There is a difference between natural link building and free-for-all link exchange programs. With natural link building, you’re linking to relevant sites or reciprocating links with partners or associations. Free-for-all linking occurs when you use software to put your links out to hundreds of thousands of sites.
Free-for-all programs are essentially spam, and if a search engine discovers this practice, they will likely penalize your website and lower your ranking (if not blacklist you). Stay honest — start a link-building program by establishing reciprocal links with relevant, reputable websites. It really is that simple. If you’d like a good online resource to learn more about this, check out this blog by SEOMOZ.org on link building.
4. Robots: Do not use a robot to rewrite your content. Such robots alter content just enough to generate a set of new, duplicate pages for search engine indexing, with the ultimate goal of increasing your search engine ranking. You may be seduced by the offer of having your website rewritten for you. Don’t fall for it.
Such robots, or programs, typically rewrite your content with very few changes. If you’re caught with duplicate content, your search ranking is likely to plummet so far that no one will ever find it. Needless to say, if you use the LicenseStream HTML code to publicize your store on your blog or personal website, don’t submit it for a robot to rewrite — not only will it affect search engine rankings for your personal website, but it could also affect rankings for your LicenseStream store.
5. Keyword Dilution: Focus on the main keywords that pay off for your online content. To get an idea of what keywords people are looking for, use the free service from Wordtracker. Plug in your keywords and see how many searches they have initiated. Focus the copy on your website and each page on a specific theme. This will naturally ensure your keywords are specific to the types of content and images that someone can find at your website. You may want to refer to the previous ImageSpan blog post about keywording practices.
For all ten tips and other helpful information, check out ImageSpan’s blog.