Fly Fishing Magazine Photo Approach Question

[g zinkus]

I know that a good number of you all are successful photo contributors to the various fly fishing and other outdoor magazines.  I have been doing some writing over the last few years and have written features, short subjects and some columns to a handful of fly fishing magazines.  So far, I have only provided photography to support these pieces that are published.

I have now started to build up enough of a fly fishing subject photo inventory that I wouldn’t mind placing queries for photo essays and getting some photos out there for consideration for covers and inside pages.

I have always used queries to an individual magazine editor in the past, and wait for a response.  I have not placed multiple queries for the same subject, but rather use the sequential approach (when necessary) by first placing the query to one editor at a time.  

I have a question on how you all approach the photo only side of the business.  Do you all take this approach to place “one-at-a-time” queries, or depend upon some of your websites, or do you send out mailings of CDs with select images under specific subject or keyword areas?  I know from time to time there are photo calls, such as the ones from Phil as well.

Any input will be greatly appreciated.  I always value the opinions of the contributors here.  Thanks
Glenn

[Zach Matthews]

You mainly need to know your client.  There are a very limited number of calls for exclusively photo materials left these days.  There are three main fly fishing magazines: Fly Fisherman, American Angler, and Fly Rod & Reel.  Add to that Grey’s Sporting Journal, which does one fly fishing issue a year, and the occasional (very, very occasional) two-page spread in Field & Stream.

The main three are always open to unsolicited cover submissions, but you need to submit some legitimate material or you’ll get blocked as a spammer pretty fast.  Look up the Managing Editor’s email address in the front of each book for cold-calling; that’s the best way these days.  (Send only proofs under 800 px on the long side, and don’t send more than a dozen to start with.  It goes without saying you should send only your best work).

Inside, American Angler has a two-page Table of Contents slot that favors darker and more contrasty images, and also the rear cover currently (until they start being able to sell that as ad space again).  Fly Fisherman has a set of proven photographers they go to on a frequent basis.  They have a financial interest in keeping their consistent, professional photo suppliers in business and so they prefer to do business with them where possible, rather than solicit one-off freelance images.

Your best bet with FF and FR&R is to submit photos for cover consideration and included with pieces.  Again, the market is so tight right now, they are trying to keep people they can count on in business so they aren’t thrown on the mercies of the random one-off supplier’s market.  From the editors’ perspective it makes sense to have a one stop shop and people like the Becks, the Grossenbachers, Tosh and Denver have established those roles long ago.  That is a hard nut to crack (and honestly, I’d feel kinda bad about trying to crack it).

The other options are the occasional magazines like the Drake and the Flyfish Journal, which publish less frequently but are going to be more open to unsolicited cold calls.  Then of course there are the happy-to-take-your-free-offerings outlets like Catch Magazine and This is Fly, which mostly function on a pretty hypothetical “exposure” market.  I like Catch’s ownership and think it’s a great publication; TIF has its place in the market too.  But from a strictly financial perspective that is a non-starter.  Being featured in Catch or TIF is very unlikely to lead to paying work any time soon unless you are really good and willing to put in a lot of work immediately as a full-time pro.

Most photographers now are either established old-guard pros who work full time and do business with accounts they’ve had for years, or guys like me, who submit photos with their articles and provide the occasional one-off.  Before we all get worked up at the pros “hogging the market,” keep in mind that their biggest asset is consistency: they can provide a huge range of good, publishable photos on a wide range of subjects.  Magazine editors need that, they need photos to be available quickly, and they are doing more business with these pros for both personal and financial reasons that make good sense.

[g zinkus]

Thanks Zach for the overall market perspective.

[Zach Matthews]

You can query more than one but be prepared to face an awkward conversation if they all want the same photo.

[John Bennett]

G Zachs advice is spot on. Freelancing as a “photographer” only is tough. It can be done but you need to set yourself soem realistic goals in terms of what you hope to acheive.  And realise its tough to break in, and to maintain a relationship. You have to deliver, not just the odd shot here/there but consistantly, in good numbers and with a wide range. To add to a put some of what Zach has said into perspective.

At its simplest, consider this.How many runs per year? How many articles per issue? Generaly speaking how many photos purchased from other than the writers of the articles.?

Do the math. So if your favorite publication runs say 6/year, averages 5 articles and maybe purchases 3 or 4 images issue.Your looking at only a few dozen images purchsed/year. Now try to fathom how many people are submitting photos all vieing for the same limited space and budget dollars….. It’s a numbers game as much as anything else. So to get established such that your photos are getting used for the few dozen

Know your client.
For example I have one publication that typically only purchases Covers and a double truck. Images of mine that are more than good enough but don’t lend themselves to covers ( theres shooting for covers and then ……everything else) or double trucks I dont submit to them.

However, and this plays into the above regards to multiple querys/submissions. Be very careful. If an Art director has to change his layout at the last minute because an image of yours he had planned to use turns up in a competitors pub…or worse both run it…………………..

For the most part publications pay for North American First Serial Rights. In short they are buying the rights to use the image one time, however the want to be the first to use it. Resales *are* possible ( I have 2) but the 2nd buyer had better know it’s already been published…at which point its the ADs choice to use it or not.

Its tougher with photos and on photographers I think. When a writer submits their queries, they generally know if its accepted or not.  Not so with photos. They can be kept in archives almost indefinately.

[yuhina]

well said! Zach

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