In their “Beyond Slim” campaign, three photographs from the Stills collection were featured in a national video ad—used to spotlight the power of the phone’s 200MP camera.

The goal?

Highlight the stunning quality of the phone’s 200MP camera. The choice to use still images inside a motion ad sent a clear message: the work had to speak for itself.

This wasn’t a traditional photo placement. These images lived inside motion. They held their own alongside sleek cinematography and cutting-edge tech. Samsung needed visuals that felt elevated, human, and emotionally resonant.

They found them here.

The images from Daniel Brittain, Sophia Sinclair, and Sara and Phil carried emotional weight and visual clarity that aligned perfectly with the campaign’s message.

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The final result was global spot seen by over 30 million people on YouTube alone, placing these images in front of a global audience.

The tagline in the spot confidently stated that the Samsung Galaxy S25 Edge was “Designed to capture your best.” And with only three images selected for the entire spot, all of which came from Stills, the message was clear:

Stills represents the highest standard, further positioning our photographers and collection of images as the definition of what “best” looks like.

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Premium Lifestyle Images from Stills

Explore even more of the very best Lifestyle imagery that Stills has to offer.

The post Why Samsung Used Stills to Showcase the Galaxy S25 Edge and New 200MP Camera appeared first on Stills Blog.

In their latest holiday campaign, Moment partnered with Stills to bring their creative vision to life. This collaboration not only streamlined the licensing process across multiple touchpoints but also helped Moment craft a cohesive and inspiring narrative that resonated with their audience.

We spoke with Alec Ploof, Head of Growth at Moment, about how Moment leveraged Stills’ imagery to elevate their holiday campaign and connect with their community of creatives.

STILLS: As a brand that specializes in gear for photography and videography, visuals are obviously a big deal. Can you share why choosing the right imagery is so important for Moment?

The Moment team is comprised of creatives ourselves, but we’ve also been incredibly fortunate to work with some of the most talented photographers in the world.

So, when it comes time for our big holiday campaign at the end of every year, picking the right imagery is important not only for our own creative spirits but also for setting the right tone when we invite everyone back to shop with us for themselves or their loved ones.

So when it came to finding images to feature, Stills’ collection was an easy choice. We’ve always been big fans of how Stills has curated the perfect list of photographers and styles to align for any brand, but especially our focus on going more places and capturing more Moments.

Going with Stills made the licensing across all our touchpoints — web, social, email, and ads — very easy.

Can you share a bit about your creative team and how they collaborate to bring campaigns like this to life?

While we reach millions of creatives, our internal marketing team is actually fewer than 10.

This year we rounded up the products in our store to fit some themes of places you could go with the gear and needed imagery to fit that. That’s where Stills and our designers came in.

In less than an hour, we had a whole board of images that fit all the places we wanted to go. We were than able to start building around the assets immediately.

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How do you generate ideas that differentiate your holiday campaign from competitors?

Being creators ourselves has always helped the Moment team stand out from the competition. We collaborate and make stuff just as if we were any other creator with a Shopify store would and I think that goes far.

When it comes to actual brainstorming techniques, mashups have always been our go-to method for generating fresh ideas. We’ll take two random items, brands, or places and mash them together to create something new.

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This year, we did mashups across all of our gift guides. That helped us land on more curated and unique creatives such as “New Zealand Trail Photography” or “Filming in Norway.”

For your holiday campaign, you used Stills imagery across web, social, email, and ads. What made you choose Stills for such a key moment in your marketing?

Beyond having the best curation of photographers out there, Stills was an easy choice. It made the licensing across all our touchpoints (web, social, email, ads) very easy.

We’ve always been a big fan of how Stills has curated the perfect list of photographers and styles to align for any brand, but especially our focus on going more places and capturing more Moments.

How did you choose the specific images for your holiday campaign? What was your process for narrowing it down?

We started on Stills by searching for keywords related to our campaign. We searched for things like road trips, airplanes, and film photography.

We quickly found artists whose work we loved and browsed their images until we found the ones we needed.

For this campaign, we knew we’d need about 25 images across all our touchpoints, and that ended up being more than plenty.

Did you notice any changes in performance or engagement when you used Stills images compared to other visuals?

Thanks to Stills, our gift guide landing page looked and performed better than ever for our big holiday campaign. We really wanted to give our customers the best-looking online store they could browse, and we felt that Stills was able to help us provide that.

Having the right images made the site feel coherent. It got more customers into our gift guides/sale collections than ever before. Over 10,000 events/actions were recorded across all our gift guide pages, which is up about 20% year over year.

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Looking back, if you hadn’t used Stills for your holiday campaign, what do you think might have been missing?

This year, we had quite a few new product releases before the holiday that kept us really busy. So if we hadn’t used Stills, it’s very likely our internal team would only have had the time to get us 1/10th of what we got from Stills — for potentially more of a cost.

The post How Moment Used Stills to Increase Traffic by 20% YoY During Their Holiday Campaign appeared first on Stills Blog.

Stills: What inspired the name “Type of Feeling?” And how does it reflect your typography approach?

Jessica Walsh: Type of Feeling communicates exactly what we set out to do: create typefaces inspired by different types of feelings or emotions.

Our team explored expressive feelings that take you to a different place.

Take Jubel, for example; it expresses joy and celebration.

The thick strokes and lively curves exude excitement, and the “e” almost smiles at you, reflecting the jubilant mood and celebrative feeling of the word. 

Walk us through how you conceptualized all the new typefaces from Type of Feeling. What did the initial design stages look like?

It was different for each typeface. Some started with emotion, and then we designed and built the typeface around that.

For others, we started with a type-design style we really wanted to see in the world.

We then named it based on the emotion we felt it best represented.

Our “musts” for every typeface were distinction, timelessness, and emotion. 

“Typography, colors, iconography, photography: These are all elements that can work together to bring a brand’s strategy and key attributes to life.” –Jessica Walsh

How do you envision your typefaces being used by designers to evoke specific emotions or moods?

We spent a lot of time imagining the worlds around each typeface and how they came to life.

Onsra, for example, is the bittersweet feeling of longing for someone or something you know cannot return.

We tried to give these feelings an identity by building them directly into different typeface elements.

The balance of normal-width and double-wide letters, together with the exaggerated tail of the Q, all capture this sense of reaching and breathing slowly in and out.

We aimed to inspire designers to look at the typeface for their own projects.

And the fun part is seeing all the ways people use the type we never even imagined. 

How does your team balance aesthetics and functionality in type design?

Good design is functional, but it is all within reason. Like my creative work, I believe rules can be broken when they serve a clear purpose.

In fact, we’re about to release a typeface in the coming weeks with a special character set that’s really fun and breaks basic typography rules.

In its regular state, it can serve the function of a normal serif. It’s through playing with range like this in our typeface styles that we balance aesthetics and function. 

How did the team approach selecting the right images for the Type of Feeling website, digital content, and marketing plans?

We aimed to reinforce each feeling idea through the mockups we showed each typeface.

Ssonder, for example, is drawn from the feeling and realization that each person you see, each person you pass, and each person that exists has their own complex and distinct life. It’s like a gossamer web of experiences and memories.

So for this collection of website and digital images, we showcased the typeface on candles, matches, and books to help establish this realization’s unique feeling and complexity.

Each typeface has its own world of unique characters, ligatures, mockups, and photography that tell the typeface’s story.

What role does typography play in establishing a brand’s visual identity?

When working with brands to develop their visual identity, it’s crucial to understand what we want people to feel when they come in contact with the brand. And we believe a brand’s typeface is a tool for communicating those attributes.

Our work with Plenty is an excellent example of this.

So many brands in the produce space make their greens and produce look just edible with fairly neutral palettes and indistinct branding elements.

The question we asked ourselves is: why shouldn’t greens and produce look as delicious as hamburgers and fries?

So we set out to create custom typography for Plenty that made you desire to eat produce.

Our working name for the font file was “Tasty Type” because the brief to the team was a typeface you actually wanted to eat.

Instead of the type indicating “healthy,” we said, “What about feeling ‘hungry’?”

This type became the central element of the branding and allowed Plenty to stand off the shelf from other greens and produce brands.

“Find what you can bring to the table in type or photo that no one else can.” –Jessica Walsh

How can typography and photography create a brand or enhance a design?

Typography, colors, iconography, photography—these are all elements within a brand that can work together to bring a brand’s strategy and key attributes to life.

Sometimes, photography can hit on an attribute in a stronger way than type can and vice versa.

We look at them as tools and lean on them in different ways to bring a brand’s attributes to life within a brand system. 

What advice would you give designers on integrating typography and photography in branding?

My advice is the same for anyone joining the creative industry:

Passion, curiosity, and persistence are the most important ingredients.

You must experiment, try things, and create a lot of bad work before you make something good.

Creativity is not always easy, and it’s not all fun and games. Don’t let hard times or negative thoughts kill your passion or hunger. Use them as fuel.

So take the time to research, understand the landscape of what’s out there, and find what you can bring to the table in type or photo that no one else can. 

Read more about &Walsh’s new foundry at Type of Feeling.

Looking for more expert insight from &Walsh? Read Jessica Walsh’s go-to process for seamless photo shoots and explore the agency’s exclusive collection of imagery available for licensing on Stills.

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