livebooks blog

Emilie Sommer: Clear, concise navigation menus

www.emilieinc.com

If you spend a few minutes familiarizing yourself with Emilie’s website, you’ll see that it’s incredibly rich in content, yet it looks clean and simple and the main menu is easy to navigate.

The key here is the “information” menu item. Because the word “information” is both clear and broad, it enables Emilie to include a variety of content in the drop-down menu under it. Collecting most of her content under this one drop-down keeps the main navigation and the user’s overall impression of the site clean and orderly.

When you have a lot of items in a drop-down, be sure to name each one so that the user/client will know exactly what they’ll get when they click on it. Spend some time coming up with page names to make sure you have the best ones, and if you find a better one down the road, go in and change it.

Critiquing the names under Emilie’s “information” menu item, I have only two issues. The first is small: The link called “Emilie.”  Most people will guess correctly that this link is about Emilie, but it wouldn’t hurt to let visitors know for certain by changing the name to “About Emilie.”

My second critique — of the link called “Emilie Ink” — I feel more strongly about because choosing a better name could lead directly to more revenue. I did not catch that “Ink” was spelled with a “k” rather than a “c,” and I assumed that this link was about her photography business. I probably would have assumed the same thing even if I did notice the alternate spelling. Either way, I would be surprised to discover behind that link a whole new website offering custom printing services to her clients!

You want to make your revenue-generating items as easy to find as possible. Don’t hide them in a sub-menu unless that sub-menu name is something clear like, “Services.” A more effective name for Emilie’s link to her print services might be “Custom Cards.”

In summary, Emilie’s navigation logic and page names are nice and clear, with just a few possible improvements. I recommend that you review your navigation logic and naming, and see if you can find a way to make it even clearer. Your visitors will thank you.

A 1,500 year-old pottery fragment in the abandoned city of Yinpan, which Sean discovered serendipitously after his original "abandoned city" story fell through. ©Sean Gallagher. Courtesy Pulitzer Center for Crisis Reporting

Planning thoroughly and planning well are key to a large-scale assignment. However, staying flexible and being willing to throw out the plan at a moments notice is equally important. If you are prepared for both, there is a good chance your trip will be successful.

Traveling in rural China is not the best place to have a specific plan. Like most of us, I live in a large city where I am used to trains turning up on time, buses criss-crossing the city at all times of the day, and convenience at my fingertips almost everywhere. As soon as you step out of China’s major cities, a lot of this evaporates.

In my plan, I had penciled in one week for each location. As far as details — timing, when to arrive, when to leave, etc. — my notebook held no more information than, for example, “Week 1 – Inner Mongolia.” I knew exactly I where I wanted to go and what I wanted to achieve there, but it was impossible for me to predict how and when I would arrive and leave a certain place. In this respect, I had to remain completely flexible and not become frustrated if I could not get to a location on ‘x’ day, as ‘y’ day would probably be ok, too. This was a luxury I had working for the Pulitzer Center on Crisis Reporting, which afforded me much more time than most assignments.

Adapting to change was the only constant on my trip. Mid-way through our journey, my assistant had to unexpectedly return to Beijing, forcing me to work alone for a small portion of the trip. I had anticipated something like this, so I focused on subjects I could cover without an assistant.

The biggest challenge during my Pulitzer assignment was when my “chapter” on abandoned cities appeared to have fallen through. I had researched and planned a trip to a spectacular abandoned city in the Inner Mongolian deserts. The day before embarking, we discovered that the area had just been shut off to outsiders because the route to the city passed through one of China’s space rocket launch centers. I had no other back-up location for abandoned cities, so I was concerned that this important chapter would be missed.

As we called hotels to book rooms for our future stops, we mentioned our predicament to a hotelier. This hotelier happened to be a professional guide to explorers and told us of another abandoned city rarely visited by outsiders. A quick search online revealed that the demise of the city fell inline with desertification, so we decided it was our final (and only) option. The old city of Yinpan turned out to be one of the highlights of the whole trip, despite coming about completely by chance.

An illustration from Anderson's piece on Free in Wired. ©Wired

There has been a tremendous amount of buzz lately around Wired editor Chris Anderson’s new book Free (which you can, of course, read for free). The basic premise is that if you give something away, more people will “purchase” it than at any other price point (even one cent) and then money can be made on that group, through advertising, secondary sales, etc.

There are big examples (like Google giving away all their services and making money off their associated ads) and smaller ones (like Prince giving away his CD in London’s The Daily Mail, boosting ticket sales for him and circulation for the Mail).

Rob at APhotoEditor predicted a few months ago, “I suspect [Anderson is] going to take a real thrashing on this one since it seems the tide has turned on free. All anyone is talking about these days is subscriptions, premium upgrades and advertising.” His prediction has largely come true, with the New York Times refuting most of Anderson’s points in its review. Malcom Gladwell makes a strong case against Free in the New Yorker as well, which Chase Jarvis referenced in a recent post, after invoking a small firestorm earlier this year when he posted about Anderson’s original Free story in Wired.

Obviously the big question here is, how does this apply to photographers? Craig Swanson of CreativeTechs makes a smart point in Chase’s “featured comment”: “generic stock image libraries are among the digital products already on a steady march towards ‘Free’…while…the availability of, for example, ‘Chase Jarvis’ is quite scarce these days. (Scarce items maintain and even increase their value). So I think this has a lot to do with how we manage our careers and art in the future. To maintain our value we must become our own monopoly.”

I have talked to a lot of photographers and photo industry professionals about the importance of building an audience for themselves, building a reputation around quality work, industry knowledge, and personality. To do that, you often have to give away some things for free. Here are a few models that seem to be working.

Give away content, sell expertise
MediaStorm distributes its top-notch multimedia pieces for free, but makes a tidy sum on its workshops teaching professional photographers and journalists how to make multimedia pieces (and even some of those are free).

Give away general expertise, sell specific expertise
Consultants such as Mary Virginia Swanson and RESOLVE contributor Amanda Sosa Stone and Leslie Burns-Dell’Acqua, along with photographers like Art Wolfe, share their extensive knowledge for free online, knowing that people will pay for their consulting or teaching services once they have gotten to know and trust their work. (What Mary does might actually fit better in the above category, since she provides great information on her blog about events and deadlines, as opposed to generalized versions of her consultations.)

Give away your vision, sell your “monopoly”
It’s not surprising that Chase pulled out that comment about “becoming your own monopoly” or that he himself is the prime example. By constantly sharing his insights, expertise, even iPhones with his huge audience, Chase has created a kind of creativity factory with a built-in audience — clients are no longer just paying for his images, they are paying to be part of that community.

Give away involvement, sell the product
Photographer Simon Roberts has been keeping a detailed blog journal of his process of shooting, editing, and publishing his latest book, We English. Along the way he has done things to help his growing audience feel like part of the creation process, like offering free prints to the first 150 people who wrote him with an idea for something inherently “English.” Having a built-in, engaged audience like this can only help sales of his book and prints.

Give away the filter, charge for the content
This model has fewer proven examples but I think it has great potential. Since everyone is giving content away for free, what becomes valuable is a filter that you trust. PDN recently highlighted the importance of “digital curators,” like Flak Photo, Conscientious, and I Heart Photography, as the first layer of filtering, which galleries are now turning to for new artists. But these filter sites will have to become profitable themselves soon; one way could be for them to become distributors of the art they feature. Or they likely have some other things up their sleeves that I haven’t even thought of. (Stay tuned for a discussion with Flak Photo founder Andy Adams on this topic soon.)

Photography as a profitable business in some ways depends on individuals’ ability to flesh out these models and decide which one (or combination of several) works for them. What are the downsides to each of these? What other models am I missing that seem to work? Obvisouly there are many that don’t depend on the “free” mentality at all. Do you think those can hold out against the free content?

“I want to make sure I have enough time to take care of everybody.”

Be Part of the RESOLUTION: Gene has some great tips lined up, but we’re always eager to hear what you’d like to know more about. Leave your questions in the comments (with a link to your website, of course) and Gene will be happy to respond.