Finally, someone has found a way to make money out of image tagging.
Imagine that your brand has the power to own and individually advertise over every single image your product might be featured in. Or imagine instead that as a publisher, any photo you use on your site now has the potential to earn you money because it already belongs to a set of brand-owned and tagged images.
This is the power of San Francisco-based Stipple Marketplace, which bills itself as “the definitive image discovery and licensing service creating the web’s most valuable, interactive images.” Launching today, Stipple Marketplace is an effective, clean and non-intrusive way for advertisers and publishers alike to use any photo to create interactive picture-advertising.
Instead of paying to license images and then running ads to hopefully offset the image’s cost, publishers can now license photos pre-loaded with revenue and interactive, searchable content.
In this way, Stipple hopes to put control back into the hands of photo owners, enabling them to measure a photo’s advertising performance while monetizing and engaging its viewers at the same time.
Here’s a compilation of some outstanding Sept 11 multimedia packages commemorating the 10th anniversary of that day. Ten years.
USA Today | How 9/11 changed America
TIME | Beyond 9/11
Guardian | The 9/11 decade
Architect’s Newspaper | Making meaning
Washington Post | Age of 9/11
New York Times | The Reckoning
HBO | Portraits of resiliance
For more than seven years, the first assignment for nearly all rookie New York City police officers has been to patrol “impact zones” with the highest crime rates, often on foot and without backup. The program is credited with decreasing crime but has also been blamed for officer burnout and overly aggressive tactics. Photographer Antonio Bolfo followed a unit of new officers as they learned the ropes in high-rise public housing in the South Bronx. Bolfo, 30, says his project provided some much-needed closure: He’s a former NYPD cop who’d walked the same beat a year earlier.
More from Mother Jones.
Source: Mother Jones
Gregg Bernstein’s eureka moment came the way so many do: while poring over typeface licenses.
He was designing for a record label, which required buying fonts and then paging through interminable terms-of- service notices restricting how he could uses his purchases.
There’s a reason TOS disclaimers are called “click-through” agreements; we hardly ever stop to read them. Why would we? They’re crammed with dense, confusing legal jargon; they’re devoid of niceties like a table of contents, bullet points or a typographic hierarchy — all of which suggests you’re not actually expected to read them.
“You wouldn’t buy a car from a salesman who speaks in double-talk and hands you an unreadable contract,” says Bernstein. “So why do we accept it from software companies?”
For his master’s thesis at the Savannah College of Art and Design, Bernstein decided to turn a TOS into something a little more digestible. He chose Apple’s 4,137-word iTunes license agreement, since it was such an egregious exception to the company’s commitment to smart design.
He teamed with Robert Bartlett, a University of Georgia law professor who had parsed the document into just 381 words. From there, Bernstein broke it into sections, using numerals, bullet points and indentations to boost readability. Then, he adopted a set display type for headlines and section starts, and eliminated the rampant use of all-caps (“As we know from email etiquette, this comes across as screaming,” says Bernstein).
Finally, he settled on Myriad Pro as his typeface, because a variant of it is used in most of Apple’s packaging (it also displays consistently on Mac and PC). Building a comprehensible revise proved simple enough, Bernstein says, adding that companies have no reason not to adopt an industry-standard template. After all, the easier these contracts are to understand, the more enforceable they become.
More from The Daily.
Viral content goes viral because it hits people upside the head, which is good. It’s not forced. Just ask any marketer, business person or writer — no matter how much we’d love it, we can’t force content to hit home.
“Only imbeciles never change their minds”
- French saying. From a CreativeMornings talk by journalist Anna Rascouët-Paz on curiosity, hosted by Typekit.
NPR is experimenting with something called “Serendipity Day,” wherein everyone on the technology side abandons their day jobs to work on…whatever they want. Bugs that need squashing, scratches that need itching — the ideas that never get to the top of a to-do list. The managers step back, available only if the workers need anything. (I need a designer, I need a room, I need a bagel.) The only rule: In the end, you have to share your work.
Views of videos on Bloomberg.com doubled on Monday (8.8) as turmoil roiled the global markets, a spokesperson has told Beet.TV via email. Overall traffic to the site on that day was up 62 percent over the average.
The number of unique video viewers who watched video on the site was up 3X.
Earlier this year, we spoke with Kevin Krim, Bloomberg’s global head of digital, about the redesign of the big business site and its increasingly multimedia format.
I believe that a combination of print and digital subscriptions can work for many if not all media companies today. But if major publishers are seriously prepared to blow up their primary revenue stream — print advertising — and slap together a giveaway tablet in order to save money on ink, God help them.