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Similarly, our insights into the research and thinking at some of the world’s leading academic institutions were a key influence on our work. Our gratitude in particular to Michael Bove and Glori-anna Davenport at the MIT Media Lab, Rudy Burger and Stefan Agamanolis at the Media Lab Europe, Mary Tripsas at Harvard University, Victor Lacour at USC’s Integrated Media Systems Center, and Pieter Lechner at the UCLA Visual Communication Portal.
As first-time authors we would never have been able to find our way without the initial help and guidance of Colleen Dunn-Bates, Angela Rinaldi, and Regina Ryan, and we would never have been able to put together an appropriate book proposal were it not for our association with Jill Nagle. Our warmest thanks of all to our terrific agent Denise Marcil, and her team, Maura Kye and Mary-Kate Przybycien, and our wonderful editor at John Wiley & Sons, Debra Englander and her team, including Greg Friedman, Kim Craven, and Alexia Meyers.
So many more people have helped in so many ways that we can’t list them all here, but with apologies to those we will inevitably have forgotten we wish to express our gratitude to Anthony Bannon at the George Eastman House, Scott Brownstein and Georgia McCabe at Fuji, Willis “Buzz” Hartshorn at the International Center of Photography, Gibboney Huske at Credit Suisse First Boston, Guy Kawasaki at Garage.com, the Future Image team, Joe Byrd, Tony
Henning, Paul Worthington, and Heidy Bravo; and also Gayle Cline, Jean Barda, Robert Blumberg, Steve Broback, Katrin Eisman, Mark Kalow, Dot Krause, Jacques Kaufmann, Shannon King, Pedro Meyer, John McIntosh, Evan Nisselson, Doug Rowan, Rick Smolan, Eric Poppleton, Broeck Coleman, Rob Steinberg, and Victor Raphael.
Finally, on the production side, our thanks to Mark Jaress, for graphic design, Kathy Jessee, for transcription services, Jeff Weinstock for invaluable copyediting, Ira Nowinski and Scott Highton for photography, Cindy Edelson for graphic services, and the team at North Market Street Graphics, including Christine Furry and Lainey Harding. Last, we thank the following corporations who provided equipment in support of the project: Adobe Systems for image editing and organization software; Epson for printers and media; Hewlett-Packard for laptop computers, flatbed scanners, digital cameras, and printers; Nokia for camera phones; Sandisk for removable media for digital cameras; Sprint for camera phones; and Sony Electronics for digital cameras.
When I was first asked to write a foreword for this book, I declined because I was very busy with the tour for my own book, The Art of the Start. However, after I read the manuscript, I found I liked the book very much and quickly agreed to write the foreword after all. I decided that since the book evangelizes visual communication, I should “write” a visual foreword.
This is the first pictorial foreword in history—at least as far as I know. It depicts how I predict the book will affect you: It will give you tactical, actionable ideas about how to use digital photography to improve your business.
My business is venture capital, so I meet with hundreds of entrepreneurs,
listen to their pitches, and get back to them later. My problem is that it’s hard for me to remember their names and to recall their whiteboard diagrams.
Guy Kawasaki Managing Director Garage Technology Ventures
Introduction: Getting the Picture
This book addresses the question, “What is the best new tool I could use to significantly improve my business?” The short answer is images—and their power to communicate. Going Visual is all about putting that power to use.
We live in a world of images. Images are everywhere, in magazines and catalogs; on television, billboards, and web sites; on our kitchen refrigerators, our desks, and the walls of our offices. Humanity has been using images to communicate since painting on the walls of caves at the beginning of recorded time.
Consider that when most people embark on a personal event— attend a birthday party, start a vacation, visit a theme park—they instinctively take a still or video camera. Through images, we communicate the most important messages in our personal lives: the birth of a child, the purchase of a home, a family reunion.
Yet images remain largely unused by individuals in the one part of their lives where they spend the most time and need the most powerful tools—interpersonal business communications. Other than in the fields of advertising, insurance, and sales, the power of the old
2 GOING VISUAL
saying “A picture is worth a thousand words” has yet to be harnessed in the world of business. In the main, we still describe people, places, objects, and processes with text-heavy memos and reports rather than simply showing images of the same. Most businesspeople have yet to take advantage of the immense potential inherent in images to communicate information more completely, more efficiently, in greater detail, and with greater power of conviction than can words alone.