Celebrity portraiture, for example, should reveal an aspect of the subject's character, preferably one that is in harmony with the accompanying written profile. And a lot of magazines don't pay at all." McNicholl says Allure's rates start at $350 a day for unknown photographers, up to $130,000 for a fashion spread.Ī photograph is a document just as much as an article or an essay, and picture editors are looking for concise images which clearly communicate an idea or an emotion. "Some mags have a decent budget, but a lot of magazines just cover your expenses, they don't pay for your time or anything. "Because there's such an over-supply of photographers, a lot of magazines really take advantage of that fact," says Eva Mueller. The best way to grab an editor's attention is to show previously published work. You'll need to be persistent in sending out your work, and ruthless in editing what you choose to show. Editors almost never buy the specific image they see before them they're looking for a photographer who can execute future commissions. When you submit work to photo editors, remember that you're "showing" rather than "selling". And they should at least know the name of the photo editor." They should know what the magazine does, and see how you can apply that to what you do.
"The single biggest thing that people should do is their research. "Most people who cold call me haven't done their research, which is the world's biggest mistake," says Clio McNicholl. Once you've got your portfolio together, the next challenge is to get the picture editor to use you. Strong portraits are always a safe bet, as they tend to stay in the mind of the viewer. But also throw in one or two other images to demonstrate your range. The images you choose to showcase in your portfolio should be thematically linked to the job you're trying to get - still-lifes or product shots if you're going for an advertising gig, for example. "Tell a story: not necessarily having all the pictures relating to each other, but I like to have some sort of sense at the end of it that I've seen that photographer's personality come through in the pictures." "I like to see a common thread throughout the book," says Clio McNicholl, who says she can tell within three images whether she likes a photographer's style. Have at least 20 in your book, and be prepared to leave them for at least a week. Tear-sheets (literally, pages ripped from a magazine) are great if you've been published, but good quality, 8 x 10" prints are also OK. Many fashion photographers find the sharp, bright imaging of 4 x 5" transparencies show off their work to best effect. By all means use the web as your calling card, but have something to show them when they call you in for a meeting. Eva Mueller (a Munich-born fashion and beauty photographer who has been living and working in Manhattan for ten years, points out that computer editing is also a method of keeping down retouching and printing costs.īut despite the medium's advantages, most industry professionals will still need to see an old-fashioned book before they hire you. Many photographers find that websites offer an inexpensive way to showcase a relatively large quantity of images. Generally I only see people who are coming with a direct recommendation from somebody I know," she says. "If I don't know who the person is, I ask them to send me some promotional material.
Conde Nast's Allure, with a monthly circulation of almost 900,000, is a prime target for beginners wanting to get their work seen. "Having been around, I know how hard it is to get in the door," says Allure magazine photo editor Clio McNicholl, who receives around 50 unsolicited portfolios a month. A photographer's most important tool is her portfolio, and this is particularly true for beginners who don't have an established reputation.
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