Comments on: Pitching the Photo Editor http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/ Photography Director Rob Haggart Thu, 28 Aug 2008 01:26:54 +0000 http://wordpress.org/?v=2.5.1 By: Lacey Johnson http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-23517 Lacey Johnson Fri, 27 Jun 2008 19:51:08 +0000 http://aphotoeditor.com/?p=629#comment-23517 Hey Rob, I'm planning a two week trip to Thailand with a bunch of climbers this winter. Do you think it would be feasible to pitch some sort of "Climbing in Thailand" story (or even just a general Thailand travel story) to a magazine? I didn't know whether it would be workable, considering that I'm traveling without a writer. Any advice? Thanks, ~Lacey Hey Rob,

I’m planning a two week trip to Thailand with a bunch of climbers this winter. Do you think it would be feasible to pitch some sort of “Climbing in Thailand” story (or even just a general Thailand travel story) to a magazine? I didn’t know whether it would be workable, considering that I’m traveling without a writer. Any advice?

Thanks,
~Lacey

]]> By: craig pulsifer http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19873 craig pulsifer Wed, 14 May 2008 09:40:22 +0000 http://aphotoeditor.com/?p=629#comment-19873 Hey Rob, what's your take on Alex's question? Have you revised your stance on text/image makers? Hey Rob, what’s your take on Alex’s question? Have you revised your stance on text/image makers?

]]> By: stoner http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19460 stoner Wed, 07 May 2008 23:48:08 +0000 http://aphotoeditor.com/?p=629#comment-19460 @11: Well, the question for me wouldn't necessarily be a cost-savings one because I'd already have a budget for writing and a budget for the shoot and if I can save a few bucks by combining both, that's great – but not necessary. My biggest concern is whether or not you're the best of both for the story you're pitching. If you're a great photographer, I'd expect that you spend your time perfecting your craft. And I would question your talent as a writer – especially for the voice of my magazine. It's surprising how many people think they can "write." I find that most folks who pitch themselves to me as writers really aren't. And I usually pursue the writers I think would be good for my book. So, you'll get a helluva lot further with me by pitching a story as a master of one discipline and not a one-stop shop. Don't worry, we'll find a great writer to complement your great images! STONER @11: Well, the question for me wouldn’t necessarily be a cost-savings one because I’d already have a budget for writing and a budget for the shoot and if I can save a few bucks by combining both, that’s great – but not necessary.

My biggest concern is whether or not you’re the best of both for the story you’re pitching. If you’re a great photographer, I’d expect that you spend your time perfecting your craft. And I would question your talent as a writer – especially for the voice of my magazine.

It’s surprising how many people think they can “write.” I find that most folks who pitch themselves to me as writers really aren’t. And I usually pursue the writers I think would be good for my book. So, you’ll get a helluva lot further with me by pitching a story as a master of one discipline and not a one-stop shop. Don’t worry, we’ll find a great writer to complement your great images!

STONER

]]> By: Alex Gauthier http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19402 Alex Gauthier Wed, 07 May 2008 14:35:41 +0000 http://aphotoeditor.com/?p=629#comment-19402 So, what about situations where you are a writer/photographer. Does this indeed bring a value add to the table (assuming you can show adequate writing samples etc.) or does this turn off the magazine? Typically, do you then see the magazine trying to only pay what they would for photography or do they see the additional savings in expenses and the convenience of working with just one person a plus? So, what about situations where you are a writer/photographer. Does this indeed bring a value add to the table (assuming you can show adequate writing samples etc.) or does this turn off the magazine? Typically, do you then see the magazine trying to only pay what they would for photography or do they see the additional savings in expenses and the convenience of working with just one person a plus?

]]> By: stoner http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19379 stoner Wed, 07 May 2008 00:22:02 +0000 http://aphotoeditor.com/?p=629#comment-19379 This very situation presents itself at my magazine pretty often: a photographer calls (we're don't have a dedicated PE, so we share the duties of one) and pitches a story. Most times, I turn them down because the balance of "get" to quality of photographer is not in the magazine's favor. But, I've had a few cases where it was worth digging into. I pay close attention to exactly what the photographer wants to put into and get out of the piece and I do as much as I can to make sure there are no assumptions, no misunderstandings and no doubt as to what the magazine needs from the project. And here's something I think is important to take into consideration: I've NEVER agreed to one of these shoots without magazine staff art direction in attendance. Hey, if you're confident enough in the story, you'll be confident enough to welcome me to the shoot. If not, something smells a little funny... STONER This very situation presents itself at my magazine pretty often: a photographer calls (we’re don’t have a dedicated PE, so we share the duties of one) and pitches a story. Most times, I turn them down because the balance of “get” to quality of photographer is not in the magazine’s favor.

But, I’ve had a few cases where it was worth digging into. I pay close attention to exactly what the photographer wants to put into and get out of the piece and I do as much as I can to make sure there are no assumptions, no misunderstandings and no doubt as to what the magazine needs from the project.

And here’s something I think is important to take into consideration: I’ve NEVER agreed to one of these shoots without magazine staff art direction in attendance. Hey, if you’re confident enough in the story, you’ll be confident enough to welcome me to the shoot. If not, something smells a little funny…

STONER

]]> By: andreas http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19275 andreas Tue, 06 May 2008 02:46:49 +0000 http://aphotoeditor.com/?p=629#comment-19275 What about sending an idea directly to an editor or the eic (at a smaller publication)? Sometimes I know or have a better relationship with the editor than the pe? What about sending an idea directly to an editor or the eic (at a smaller publication)? Sometimes I know or have a better relationship with the editor than the pe?

]]> By: warmdriver http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19220 warmdriver Mon, 05 May 2008 20:31:01 +0000 http://aphotoeditor.com/?p=629#comment-19220 P.S. That's not to diminish the validity of his frustration or anger, but simply to recognize an upside that speaks to the resilience and shelf-life of a powerful photograph. P.S. That’s not to diminish the validity of his frustration or anger, but simply to recognize an upside that speaks to the resilience and shelf-life of a powerful photograph.

]]> By: warmdriver http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19219 warmdriver Mon, 05 May 2008 20:27:11 +0000 http://aphotoeditor.com/?p=629#comment-19219 News hooks seem to dominate the editorial process of even the most artsy publications. I'm not surprised by Nick Turpin's experience. The sad thing is, a news hook-driven story based on a week or two of physical research by an assignment writer or contributing editor rarely speaks to the deeper contextual overview and authority embodied in a serious photo project. At least that's my experience. The time and investment — and inspiration — just aren't there. But it could be worse, as way more idea-stealing is going on in the name of portfolio reviews and photographers' and writers' pitches than Rob seems to be aware. At least in Turpin's experience, his name is now associated with coverage of that environment, in the event that he chooses to take it further, for exhibition or book publishing. News hooks seem to dominate the editorial process of even the most artsy publications. I’m not surprised by Nick Turpin’s experience. The sad thing is, a news hook-driven story based on a week or two of physical research by an assignment writer or contributing editor rarely speaks to the deeper contextual overview and authority embodied in a serious photo project. At least that’s my experience. The time and investment — and inspiration — just aren’t there. But it could be worse, as way more idea-stealing is going on in the name of portfolio reviews and photographers’ and writers’ pitches than Rob seems to be aware. At least in Turpin’s experience, his name is now associated with coverage of that environment, in the event that he chooses to take it further, for exhibition or book publishing.

]]> By: paul http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19218 paul Mon, 05 May 2008 20:22:16 +0000 http://aphotoeditor.com/?p=629#comment-19218 I'm a relatively new recruit to APE, very insightful, would love to see an example of this if you've got one handy I’m a relatively new recruit to APE, very insightful, would love to see an example of this if you’ve got one handy

]]> By: J.M. Giordano http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19208 J.M. Giordano Mon, 05 May 2008 15:16:00 +0000 http://aphotoeditor.com/?p=629#comment-19208 APE you tha man. APE you tha man.

]]> By: Jonathan Hanson http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19207 Jonathan Hanson Mon, 05 May 2008 15:02:06 +0000 http://aphotoeditor.com/?p=629#comment-19207 Thanks for the info on this, I am just starting out and your advice in this post is really helpful, especially for someone who wants to work on stories. Thanks. Thanks for the info on this, I am just starting out and your advice in this post is really helpful, especially for someone who wants to work on stories. Thanks.

]]> By: Nick Turpin http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19206 Nick Turpin Mon, 05 May 2008 15:00:24 +0000 http://aphotoeditor.com/?p=629#comment-19206 A cautionary tale... I spent a month shooting behind the scenes at The UK's biggest airport, I had complete access land and airside (this was pre 9/11). I offered the story to The Independent Magazine who immediately agreed to run it....I was delighted. The day before publication I happened to see the page layouts, I was horrified to see they had used my pictures over several pages with a written story about the controversial building of a new 5th terminal..the article was titled 'Terminal Damage'. This was not the story I had shot...I located the Photo Editor, now the PE of a major Conde Nast publication who I am very tempted to name and demanded the removal of my pictures. When it transpired that it had been printed and this would result in the pulping of several hundred thousand magazines....I eventually let it go...but I was and, as you can tell, still am furious. I was a young naive photographer at the time and the PE should have known better.....you know who you are. A cautionary tale…

I spent a month shooting behind the scenes at The UK’s biggest airport, I had complete access land and airside (this was pre 9/11). I offered the story to The Independent Magazine who immediately agreed to run it….I was delighted. The day before publication I happened to see the page layouts, I was horrified to see they had used my pictures over several pages with a written story about the controversial building of a new 5th terminal..the article was titled ‘Terminal Damage’. This was not the story I had shot…I located the Photo Editor, now the PE of a major Conde Nast publication who I am very tempted to name and demanded the removal of my pictures. When it transpired that it had been printed and this would result in the pulping of several hundred thousand magazines….I eventually let it go…but I was and, as you can tell, still am furious.
I was a young naive photographer at the time and the PE should have known better…..you know who you are.

]]> By: A Photo Editor http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19205 A Photo Editor Mon, 05 May 2008 14:40:14 +0000 http://aphotoeditor.com/?p=629#comment-19205 Depends on how ethical they are. The story idea belongs to the person who pitched it. Keep in mind that several people can pitch the same story and that can ruffle a few feathers when the person who didn't get the assignment sees the story in the magazine. I would just drop the idea if we didn't think the photographer who pitched was appropriate to shoot. Sometimes a finders fee is paid to bump a writer or photographer off but that's always a difficult conversation. Depends on how ethical they are. The story idea belongs to the person who pitched it. Keep in mind that several people can pitch the same story and that can ruffle a few feathers when the person who didn’t get the assignment sees the story in the magazine.

I would just drop the idea if we didn’t think the photographer who pitched was appropriate to shoot. Sometimes a finders fee is paid to bump a writer or photographer off but that’s always a difficult conversation.

]]> By: Giovanni Del Brenna http://aphotoeditor.com/2008/05/05/pitching-the-photo-editor/#comment-19204 Giovanni Del Brenna Mon, 05 May 2008 14:01:46 +0000 http://aphotoeditor.com/?p=629#comment-19204 Just a question: what happens if you pitch an idea that the PE likes but the director (or whom it may concern) likes it but on a different tone than the photographer that presented it? I'll try to explain myself better: the story is pitched by a straight forward kind of photographer and the director wants the story but wants it more soft and likable... so that the photographer that pitched it is no more suitable to do it. Would the magazine do the story anyway with another photographer or just not do the story? Just a question: what happens if you pitch an idea that the PE likes but the director (or whom it may concern) likes it but on a different tone than the photographer that presented it? I’ll try to explain myself better: the story is pitched by a straight forward kind of photographer and the director wants the story but wants it more soft and likable… so that the photographer that pitched it is no more suitable to do it. Would the magazine do the story anyway with another photographer or just not do the story?

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