Instacanvas is now Twenty20, but how is its vision?

Did you hear of Instacanvas? It was a canvas printing company devoted entirely to Instagram images. You could link your Instagram account to their website and choose your favourite filtered, square-cropped photo to hang on your wall. Or, you could establish your own gallery and let other people wander through your photos and select your Madagascan sunset to adorn their living room. The idea was that it freed people from the tyranny of mass-produced images supplied by Swedish furnishing behemoths and instead provided them with the opportunity to choose from millions of photos created by people like them. Matt Munson and Instacanvas' other co-founders wanted to let people buy and sell images without a curatorial middleman. Smartphones have brought photography to everyone; why can't everyone benefit from the plethora of photos?

Plenty of people agreed with that sentiment.

Instacanvas has grown enormously since those first heady days when it went public in May 2012. Its range of products has grown, although your public gallery remains Instagram-only you can upload photos from other sources to print for yourself, and the number of photos on its books is in the region of 30 million. It's perhaps this achievement, and the potential that it holds, that has led to Instacanvas' next steps.

It's now called Twenty20 and it is venturing into the stock image market. With a book of images to rival Fotolia or Shutterstock, how are things shaping up for this 13-person operation based in Santa Monica?

I have to say that my first experience with Twenty20's website didn't get off to the greatest of starts. For anyone who lives in a cricket-playing country, your first Google hits for 'Twenty20' will be about the limited overs form of the game. Don't forget to modify 'Twenty20' with 'canvas' and things should be better. When you hit the splash page you're faced with something attractive, but utterly uninformative. There's no mission statement or suggestion as to what it is or does, there's no 'About Us' link or 'Contact us' option, and there's no indication as to how to access what lies beneath. How frustrating!

Eventually, I learned that in order to be able to find out what Twenty20 is all about or just to peruse its wares, I needed to register. My gut reaction to this was that it felt in someway deceptive; now I'm more inclined to perceive it as absurd. Why actively try to prevent people from learning more about your company by demanding information from them? I persevered because of professional interest, but would someone who's casually looking for wall art?

Taking this a stage further, would someone who's looking for stock imagery be bothered to sign up and then navigate to the stock pages when you can rock up at Shutterstock, Fotolia, or iStock, type your desired subject into the search box on the front page and be presented with pages of findings immediately?

Munson told me that forcing people to register is a recognised tactic to encourage interaction on social media sites and it's something that other social media sites employ, for example, Twitter. It's an interesting theory, but I'm not sure it's quite the right approach for Twenty20. For a start, Twitter's splash page isn't link-less or a desert of information, and Twitter is rather more well known than Twenty20. When your aim is to convince people to part with their money, you need to do everything that you can to lure them in, rather than push them away. Twenty20 might have its roots in social networking, but ultimately it's about sales and this has to be as easy as possible.

Once people have been lured in, selling products via Twenty20 is refreshingly simple. Signing up with Instagram means that your images are there, ready and waiting to be made into prints or prisms to hang on your own walls, or to be curated into a gallery ready for anyone else to peruse and transform into something to hang on their walls. You don't set your own fees, they're standardised, which makes it easy for buyers and you know that you'll always take a 20% cut of the sale.

Although the pricing structure for digital image files is uncomplicated: $20 per image, with discounts for bulk buys, acquiring them isn't quite as easy. You need to contact the Twenty20 team to proceed. I'm hoping that this is merely a teething problem in Twenty20's new venture. First because it puts it on the back foot when compared with other stock houses; second because this is where I think that Twenty20 could excel. Imagine how much easier it would be to buy and sell news-oriented Instagram images via Twenty20, rather than have them used fee-free by news publications? Wouldn't it be great if your skinny-no-foam-latte photo is the one favoured by wannabe-hipster food blogs? (If they were real hipsters, they'd be using their own Instagrams, clearly.) But this relies on the system becoming faster and easier to use: instant access to your Instagram images.

When you have crossed the drawbridge, negotiated the portcullis, passed through gatehouse and into the bailey, and finally made your way into the keep that is Twenty20, there are some beautiful products for purchase and a welter of images for sale. It's such a shame that Twenty20's website design has made everything so inaccessible. Indeed, it's ironic. It's a company that's built on the principle of bringing the wealth of gorgeous digital media that languish in the aether onto people's walls and breaking down the barriers that sit between digital artists and their potential clients that have been erected by the curators of galleries and stock houses. There might not be any curatorial gate-keepers accepting or rejecting images, but there are technological ones discouraging people from making use of Twenty20.

If Twenty20 wants to truly realise its vision, I think it needs to follow through with its technological accomplishments to the same degree as its ideological principles. The theory's simple; keep the practicalities that way, too.