Photo Submission to Mags

[john michael white]

I posted a similar post on the writing forum, which got me to thinking, what is the etiquet for submitting images to magazines for a new photographer trying to get published?

[Phil Monahan]

John,

If you are simply sending out a general portfolio, I don’t think you need to worry about multiple submissions. However, if you go on a specific trip and get specific shots that you think are great, send them to just one editor. If he doesn’t want them, send them to the next guy on your list, and so on.

If you send portfolios to multiple editors, keep careful records of what gets used and where. You don’t want to sell the same photo to editor A because you forgot that editor B used it six months ago.

Once an image is chosen, it is dead…for awhile anyway. Magazines buy first American rights, so technically you can resell the image as soon as it’s published.

Here’s the way I like to receive such submissions:

1. Fill a CD with LO-RES images. The more the better, and the collection should be representative of your stock.
2. If appropriate, organize them into folders (trout, steelhead, bonefish, etc.)

Hope this helps,

Phil

Editor
American Angler

[john michael white]

Thanks Phil.

[Corey Kruitbosch]

Phil … I am wondering if most editors prefer a a cd/dvd to an online portfolio sent via email? Iss it ok to have your portfolio online or will an editor stay away from photos that have been ‘published’ on the web?

[Phil Monahan]

Corey,

Online lightboxes are fine. I use them all the time, as well. My only problem with some of the lightbox programs is that they don’t allow you to blow up the images enough.

There’s no problem with images being “published” on the photographer’s own site.

Phil

[Corey Kruitbosch]

Thank you Phil! Great information for guys (like myself) who are just getting started!

[John Bennett]

John for whats it’s worth here’s what I’ve experienced so far. You might find some of it valuable given it’s a path I’ve just recently (in the last year ) started down.

Identify 1 or 2 publications you’d like to target. Treat it just as you would a job search. Try as much as possible to learn everything you can about them, just as you would a prospective employer. From their content to their submission guidelines.

One thing Ive discovered up here, is that each magazine is different.
Most want jpegs to start. In one case full res, in yet another and like Phil low res.

The magazine I’m primarily dealing with want both the RAW and a high res jpeg from me. Initially that was a low res, my guess is the ADs seen enough of both my raws and jpeg output to know and trust that a) Im capable of processing and b) I dont overdue stuff or manipulate them….Dunno for sure but my guess is if I can save him or his staff time processing, all the better and if he wants to make changes (colour, sharpening, crop even) he has the RAW to do it.

An editor from yet another saw some of my work just this week and has requested a CD of more. He to wants the RAW and full res jpegs.
In his words…”so we dont have to bother you for another file (meaning raw) down the road if/when they select some.

In a nut shell with regards to format, each magazine can be different in their requirements. Read their guidlines and follow them, and further learn everything you can about them. Size, market, content, study some of their past issues for general ideas.
******

Rights.
My understanding is that with regards to submissions “purchased” photos ( they pay you to run them) are for one time useage rights. Should they use the image multiple times you get paid for each reproduction. Comp is dependant on image size printed. It varies to magazine to magazine. As Phil said, once an image is sold, if its in anyone elses hands make sure you dont sell it again before its published.

Exception
Are assignments. Where your paid to go shoot something, regardless of how many (if any) images are used. In this case the rights are 1 year exclusive. Dont even think about uploading any of those for display.

Reselling and multiple submissions.
This is hard part. In large part its a numbers game. The more magazines you get your foot in the door with and start establishing “stock libraries” with, the better your odds of getting published.

Its also a waiting game. I have images that are sold and counted for, but the article wont run until next spring/summer. I also have images in my “stock library” at a publication that they kept but due to scheduling may or may not get used and even if they are it may be 2 years. I wont get paid (if at all ) until the issue/article for which they apply goes to print.

So I wait 2 years before sending elsewhere? 1 yr? 6 months? whe nothing has been “purchased” but only kept for potential use

[Philip Smith]

What exactly consitutes a Low Res image? That seems to be a broad range. What should I resize my images to exactly?

On a ‘portfolio’ cd, should I put images into organized files based on topics, etc. or just fill the cd with a bunch of different images?

[john michael white]

This is more of a theoretical question, but lets say Magazine X has bought image A, but they have not published it yet.

[Phil Monahan]

John B,

If you are going to send RAW images on a DVD, make sure that the magazine tells you immediately when they’ve chosen something for publication, and make sure you tell them immediately when you’ve sold one of the images to someone else. (Trust me: it’s worth your while to be “bothered.”) If you’ve got disks with RAW or hi-res images floating around out there, you’ve lost partial control of your stock, and you run the risk that two magazines will publish the same photo without your knowledge. If that happens, you are the one who will take the hit to your reputation.

JMW,

I don’t think that fine-art prints compete with magazines. I wouldn’t worry about it.

Philip,

A good lo-res image is one that is big enough that I can blow it up enough to see that all details are in focus, but small enough that it doesn’t take 20 seconds to load on my iMac. And I like organized files, as stated above.

One other thing: Every photographer needs to know how to send images via FTP. Mailing or shipping cds or dvds is, like, sooo 1990s.

Hope this helps,

Phil

[John Bennett]

I’m being very carefull about that Phil. In the cases where there is duplication its a few images and to two pubs (no more)  and the better part of a year separate them receivng the files. I’ve already informed an editorof a 3rd Pub who asked about some photos that it would depend on the specific images in question as some are already in the hands of another.

Have I blown him of as a resultf?
Possibly

And this is where I’m finding it very difficult. If you send something to  (A) unsolicitated and they presumably add them to your library. Then months later you get request for them or want to offer them to (B), its  a dicey line.

This probably isn’t the right wording but they can’t be held “hostage”.
Meaning the right to use the image hasn’t been paid for by A, and theres litteraly no guarantee they ever will. They are for all intents and purposes in limbo.

I dont think its “right” therefore that as the photographer the original recipient have essentially the rights to them, without ever having notified the photographer that they are going to be run, or paid for 1 time useage rights indefinately. You want to extend every courtesy both persoanlly and prfessionally to them but at the end of the day its business on both ends.

Should I forego potential sales for what may never develop?

To put a litle perspective on it. If I have 200 images on file at A), none of which have been paid for. Thats 200 photos that are dead in the water that could be doing something elsewhere.

At my best guess my A has about that many ( possibly more ) on file some of which I know are spoken for (they will get run) the rest……..

[Phil Monahan]

John,

I would argue that an editor has no right to anything of yours until he decides to publish it and tell you that.

We editors are always under the gun, and some guys want a collection of hi-res images that they can turn to at the last minute. But “at the last minute” is where decisions can be made that result in problems for you with other editors.

But 200 photos should NEVER be in limbo.

This might be the best reason NOT to give out hi res images and to keep your photo collection Web based.

Phil

[John Bennett]

Thanks Phil.

For someone starting out theres alot to consider, this being but one potential issue. The last thing I’d want is problem of that nature.

With regards to “libraries” and what any one editor may have on hand at any given time. Not delivering RAWs may be a good work around, in so much as it would almost force an editor to request the original file, thereby giving me the opportunity to notify anyone that needs to be notified. Although that does mean delivering images that dont meet their request for RAW + jpeg (where applicable).

As for the number they actually have on hand, it’s hard to say. Maybe its a subtle difference in how the industry works up here. Where Zach and some others have alluded to editors notifying the photogrpaher which they are keeping or passing on as the case may be. With the exception of those that I know are sold/spoken for, to date Ive really just gotten “were adding them to the library under your name” for submissions . I doubt its 100%, but then again, I also doubt its 1, 2 or 5% kept and filed given some communication thats been shared with a few.

Kind of leaves me the dark for a good number of them. So far, my process has been to submit about 50 images at a time. Over 7 months and 2 assignements for “A” thats alot of images that could be held on file indefinately to be used “whenever”, which will only grow as more get submitted. Not counting anyone else.

Anyways, thanks for your input on the matter, its invaluable given its coming from the “horses mouth” so to speak.

J

[Zach Matthews]

John –

No one I work with has requested large archives of pictures.

[John Bennett]

More to think about, and duly noted 🙂

Trust me, this is something I’ve given alot of thought to. Not only who, but also how much and when. While I think I’m still a ways from getting a cover…who knows, lightning can strike :).

Part of the problem may be a limited number of mags up here that cover hunting/fishing and the Outdors. Theres really only 2 or 3. So to some extent “diversification” is a little more problematic. Take “Fly Fishing”. Up here theres only 2 publications and thats Nationally. Im not as familiar with the States but I can think of 4 easily. Im sure there are alot more, and that just fly fishing. If I selected images that wre well exposed and sharp enough for .5 page or 8 x 10s and deleted the rest I could potentially/easily send 50 to each per month depending on “lucky” I was getting content.

So now that some more doors are opening, diversification is less an issue. So I guess the question I need to resolve for myself is what to do about those images that are in a “library” already, and have been for awhile and how selective to be going forwards…aka how “many” to send out for consideration.

Just want to note though that Phil said he prefers a full cd of low res, so I think thats fairly universal. The difference may be where Phil may keep what he wants and pass on the rest, thus far it seems/appears as though a good number of mine have been kept and I dont know what has/hasnt passed muster
Dunno.

I’ll look into that lightbox suggestion.

[John Bennett]

Not crazy about replying to my own, but more food for thought.

Heres an excerpt from one magazine, with regards to unsolicited submissions.

Photographers interested in sending originals should send a small portfolio of 100 (or less) well-edited images. Naturally, we would expect photographers to send images that are in line with the magazine’s content (ie. fishing, hunting and conservation). Label each frame with your name, and provide details such as species of fish or shot location. We usually do not purchase images in advance, but will solicit images from your library when packaging stories or features. We’ll return them by Express Post as soon as we can after viewing. We also are happy to accept electronic submissions via email.

We are now starting to see an influx of digital work, and will deal with photographers on a one-to-one basis in regards to needs and requirements regarding this medium.

On the surface its not very different than what Phil suggested. Honeslty given fly fishing really just got started here in the last month I couldnt fill a CD for Phil yet 🙂

But, really having 200 images (or more ) out there and in 1 magazines “library” as freelancer, I dont think is all that much relatively speaking. If I were to send 100 images to ABC in January and come May/June had request for some of them from elsewhere or wanted to get a foot in the door with XYZ, then potentionally some potential conflicts arise.

At what point is it safe?
Probably never. Once they are in someone’s library they are likely there for quite some time. Hence my comment about images being held hostage and why Im going to give alot of thought about RAW +Jpegs (although that seems to be becoming more popular)

Case in point.
Bass openers is this coming weekend. I’ll be out Saturday for sure, Sunday possibly. Assuming the fish and weather  co-operate between fish mug shots, enviroment and landscape and filler shots (boat luanches, bass boats zipping by at 100mph, reel shots, etc) I could end up producing 50-100 potentially publishable images. Id probably trim that further but its just a point. Even if its ends up being 50.

If I send those to XYZ (editors like variety) and they get added to the library Atleast up here due to seasonal issues ( typically feature articles run in the months leading upto season openers). Meaning the publications ran their Bass articles in May and are likekly already focusing on their late summer, fall hunting articles. Are they “dead” and shouldnt be sumitted used until next April when publishers will once again be looking at Walleye and Bass openers? Conversely if I do nothing and wait for next winter then they aren working for me and I completely miss any chance of any of them being used before te waters freeze and editors are looking for ice fishing articles and winter hunting articles/images. 6 of one, half dozen of another 🙂

J

[anonymous]

Hi

Been gone awhile but could’nt resist adding to the thread. Phil’s council is very solid. I have dealt with AA and have had a couple of images published in the mag. It was as it should be- Phil asks to look at some pics/makes a choice/asks for the files/sends an invoice/runs the pics/sends a cheque.

[John Bennett]

Welcome back will.

With regards to “editing”, you know them. Im not worried about thier post, nor would you be. Although I am questioning RAW for no other reason than it might lead to a problem in the odd case where 2 have the same image.

If anything Im being overly careful not to fall into a pitfall
As yet, no two have the same RAW, nor am I talking about “carpet bombing” more than one magazine. Its a few images and not likely to grow anytime soon. In fact, in the case where it has occured the recipient knows they arent the only (disclosure) and it is a low res jpeg. But forewarned is forearmed and Im revisiting the wisdom in sending RAWs. Will depend I guess. But when its one of bigger and better mags and they request it…Kind of hard to step on their toes 🙂

Why might editors want RAW or full res? So they know what they are dealing with. I know somone who burned a bridge by submitting “low res crops” that were sharp to the eye. Too bad the full res’s were unpublishable.

I could send an editor 500 wickedly sharp, low res, down sized images and not a single one would be publishable at more than an insert size.
In fact some images on my website I wont send for that reason. They may pass as 1/4 page prints but not much more. Phil as much as said so, they need to be large enough to know if its suitable.

If I were an editor and under a deadline and liked 5 images from some guy and had to request full res images (instead of having them on hand) that might arrive some time later only to discover none of them were usefull…and then have to scramble to revamp…….

Well that too, might burn some bridges.
Websites, such that we/most of us have are laregly ueless atleast at first blush. Unless I “know” the photographer I often queston..that looks nice at 800 x 500, wonder what the raw/full res looks like. BY sending large files, they know exactly, with no room for doubt if its publishable at any size. The minimum I can send to 1 National is a jpeg at 300 dpi sized to 8 by 10, raw or no.

Anways I digress, theres good and bad in both.

The part Im having”difficulty” with is literally the “libraries” and how long might images be in “limbo”. As I said I know for a fact Ive got some images shot in Aprli and May that wont be run until next May June 2009. Anything I send to one magazine from Bass Openers 2008 that gets added to their library realistically likely wont be run for months due to scheduling and seasons. possibly close to a year

Its the ones they added  and hold “indefinately” that have me “over “analysing.

A lightbox/website is fine and certainly has alot of merit, not sure what might give you the idea Im not taking their advice to heart.
I am, very seriously.

“But”

Any idea how many emails editors at various magazines receive requesting they look over them?
Im guessing a few.

A “promotional” CD to me would be the best bet to gettng “noticed” and then once your foots in the door and something is estabished , yes I can see lightbox/websites working. There are 1,00s of such sites around. The personal touch still has its place.

All else being equal, for someone looking to get their foot in the door a CD Im thinking is worth infinately more than a website with optimised for web images. As an edior Id look at that (a CD), websites from unknowns where you dont know what if anything about the “actual” image/author?

Has it been cropped?
Baked or doctoreed?
Looks sharp on the web…in print?

[Corey Kruitbosch]

Has it been cropped?
Baked or doctoreed?
Looks sharp on the web…in print?

I had an opportunity to send some images in recently. I put the images that the editor had requested in the root folder and I included my original raw/psd’s in a ‘originals’ sub-dir. My thinking was that as an editor they may want to see what my editing was and how it effected the image. Is this overkill?

[John Bennett]

Dunno Corey.
It cant hurt but as this discussion has shown, now that they are out there you need to becareful about future request or using them as part of a promotional cd and or submissions anywhere else, even as a low res.If you do make sure they know they arent the first.

That to may have burned me a bridge (telling someone I may have to say no to images he was interested in) . Dont know for sure on that one but again, better safe than sorry.
**********

If they end up in their library I dont know what to say 🙂
Im trying to muddle my way through that. Thers no limit on how long they can keep them in their data base.

I do know a guy that burned a bridge because some his were cropped and when push came to shove and he had to deliver the full res images,….. I know of a highly repsected paper that got burned by an established photographer doctoring images.

(IMO) only, better to be upfront. A number of my older images from a year ago when I used to crop I wont send and will probably take down in time. Any skill at all in PS can make 1024 x 750s look publishable.
They could still published as smaller prints but again…..

[Author]

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