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A unique stock photo agency is stepping up to claim its position among those offering the best images from the best photographers. MIRA, meaning "look" in Spanish, is the stock photo agency of the Creative Eye co-operative. As a co-op business, Creative Eye is owned and operated by its several hundred member photographers.

From the photographers' perspective, the market for stock imagery has undergone a number of negative changes in recent years. Many agencies have been bought up by bigger agencies including a pair of corporate giants. As the distribution channels have come under the influence of fewer players, the terms for inclusion have become mandated. Royalties paid to the artists have diminished as dividends to stockholders take precedence.

Feeling burned and frustrated by the terms and diminishing returns offered by the dominating corporate agencies, photographers are increasingly turning to MIRA as their best hope to survive within the business. MIRA is a concept for some; a passion for others. No other agency offers equivalent security and photographer friendly terms. It presents the creators of imagery with what many see as their best opportunity to be the ones who benefit from their work. As the owners of the business, no tier of shareholders competes for a piece of the revenues.

This has a positive impact for the buyers, according to Creative Eye chairman, John Greim. "In shopping Mira buyers are able to satisfy their current needs while also insuring a steady stream of fresh material for their future projects".

Recognizing the need to satisfy the clients first, MIRA is working to build a collection of images and a level of service that meets or exceeds what's available elsewhere. MIRA is attracting photo researchers to its web site and working to keep them coming back for steadily improving content.

Not to suggest that MIRA doesn't have content now. With the likes of Nancy Brown, Mark Lewis, Elle Schuster, Glen Allison, Cosmo Condina , Carl Schneider and Carl Purcell, MIRA has a lot of strong content. The cross section of subject matter is impressive too. MIRA's photographers specialize in underwater, landscapes, concepts, people, travel, lifestyles, sports and even tattoos and twins.

Service is one area in which MIRA intends to really distance itself from the rest. According to Greim it appears to be working. "Customer service has always been our forte and based on feedback we are right on target in continuing to obsess in this area. In the end Mira's goal is not to be biggest or brightest, just the best from a buyers perspective. We are not there yet but based on recent feedback we definitely seem to be moving in the right direction."

Freelance photo researcher, Amor Montes de Oca states that the customer care received from MIRA's Kathie Woods has been one that "truly reflects their uncompromising care for their clients. Kathie's communication is outstanding, friendly, polite and incredibly professional. Her attention to my project and my demanding deadlines helps me get my work done more efficiently".

Another freelance researcher, Laura Wyss, specializes in photo research for book covers. She concurred about the service, stating that "I receive lightboxes promptly, and the images fit my requests. I look forward to working with Mira more in the future."

Without a doubt, MIRA's Kathie Woods is the backbone of the agency's customer service. Much of it has to do with Kathie's view of herself as a facilitator and problem-solver more than as a salesperson. She enjoys working with buyers, "having transitioned from working primarily with the photographers to the buyer side of things, I have been so pleasantly surprised at the commonalities. Both groups are lively, creative, highly personable and truly deeply interested in what they do for a living." She finds each conversation to be both a challenge and a pleasure at the same time, " I have to be sharp and on target myself to find a way to meet their individual and distinct needs to the best of my ability."

Woods' familiarity with the MIRA file facilitates her work with clients on big projects and at least reduces any stress due to sudden changes in direction or pressing deadlines. As a result of the personal service they've received, more than a few clients now make MIRA their first stop. Wyss claims that she looks forward to working with MIRA on future projects, adding that "my clients are not satisfied with just the big Corbis and Gettys."

Lacking the marketing clout of the corporate agencies, MIRA has relied on lower cost methods of reaching potential clients. An aggressive email campaign has resulted in more activity with each new round. A series of postcard mailers has had similar results. Mira takes a booth at Picture House each year for a full day of one on one meetings, talking to and listening to buyers. Greim feels that when buyers learn about the business model, that Mira is actually a cooperative owned by the photographers whose work comprises the archive, it never fails to pique their interest. "Since we are all involved in different aspects of the same creative business, I think there is something of a kindred spirit connection" says Greim, adding that "most seem to be reasonably aware of the industry trends that have put incredible pressure on photographers and created the need for an artist owned alternative". He claims that people are generally very enthusiastic and express that they would definitely shop Mira first, but are also quick to qualify, "all else being equal".

Photographers are answering the call to do their part. To some, MIRA is a call to arms to defend their presence in the image business. According to member/owner Larry Aiuppy, "joining CE/Mira is doing a good deed for all independent stock photographers and striking a blow for fairness and artist control in the industry". Submissions have been pouring into the files even as the editing process has become increasingly stringent.

A growing spirit of the co-operative is becoming evident too. Member/owners are carrying on inspired dialogs in the agency's members-only web forums. Discussions cover every aspect of running the business, but most of the excitement revolves around exchanges about style versus content in stock images and their ability to fulfill the buyers' needs. The result of this creative stimulation, that few photographers are finding elsewhere, is showing with increasing frequency in the MIRA collection.

The whole Creative Eye concept is an exciting path for both buyers and creators. As Greim phrased it, "happy, motivated photographers earning a larger percentage to reinvest in creating new and exciting work is really in the long term best interests of buyers. It's a classic win-win dynamic".