An Editorial Optimist

[by Shawn Henry]

Many photographers question the viability of a career in editorial photography these days. Magazines and newspapers especially have been hard hit not only by the economic decline of the past several years but by the shift in media consumption away from print to the web, as well. Ad pages are down, editorial pages are down, budgets are down, and, in many cases, fees are down relative to just five or six years ago.

But I remain optimistic about the general future of the editorial market.

Certainly, the traditional venues for quality photojournalism are pretty dismal — the news magazines are shells of what they once were, publishing minimal material even from those industry stars who once filled their pages. However, other venues are emerging. There are numerous new online “magazines” dedicated to high quality photojournalism and reportage, many organized by photographers themselves. And there are platforms for multimedia and motion work such as Mediastorm that hold tremendous promise for a bright future for dedicated photojournalists.

While traditionally thought of  less glamorous or prestigious than their consumer brethren, there are many trade and corporate publications that continue to thrive, and these publications very often have budgets larger than those of the mainstream magazines. Your mother might not gloat quite as much to her friends about your two page spread in Nut & Bolt Review as she would about a 1/4 page picture in People magazine, but your bank won’t care when you deposit the check.

Finally, editorial work remains a wonderful means of introduction to potential corporate clients. I’d wager that 90% of my corporate work through the years has been a direct result of a prior editorial assignment. Entering a company with the backing of a respected magazine helps inspire instant credibility. It also demands responsibility on the part of the photographer to treat the assignment as the number one priority and resist any inclination to turn the visit into a sales call.

Shawn G. Henry is currently a national board member of ASMP. He’s survived for more than 22 years as an Editorial Photographer…

Why Even Try?

[by Kevin Lock]

While in college I pursued my dream of becoming a documentary photographer and a photojournalist.  I quickly segwayed into editorial photography. At the time there seemed to be an unlimited amount of opportunity. Magazines and assignment work was in abundance. Every day more and more magazines appeared.

A lot has changed in the 18 years since. Magazines are folding, the budgets have fallen and rumor has it that editorial photography is on a downward spiral. So you may ask yourself “should I even attempt to pursue editorial assignments?” I say “yes… most definitely.”

Shooting for publication is
an important and rewarding part of my business and it can be for yours as well. Here is why:

1) Exposure. Where else can you get free exposure and advertise your business to a targeted audience.
2) Editorial assignments provide a chance to be creative, solve problems on the spot and share your interpretive vision with others.
3) The opportunity to connect with new potential clients; your subject, their company, their peers and their competition.
4) The possibility of a future stock sale.
5) You will be creating new imagery for your portfolio.
6) Staying fresh by keeping busy.
7) Shooting editorial assignments can provide a monthly reminder to your clients that you are busy and in demand.
“Print is dead” they say. I say ” The ezines are coming, the ezines are coming,” and will provide another avenue for editorial Photographers to survive.
9) Lastly, my favorite reason. To get paid to do what we love to do.. take beautiful pictures.

Kevin Lock is a national board member of the ASMP and is currently looking for his next editorial assignment. Coming soon to a newstand near you.

My Terms & Conditions

[by Shawn Henry]

We all hate receiving “those” contracts — the multipage monstrosities, with line after mind-numbing line of legal jargon and syntax seemingly designed to confuse and obfuscate rather than clearly define the simple terms of an agreement.

Is it any wonder that clients hate receiving that type of contract as well? And is it surprising then that too many photographers shy away from getting paperwork signed upfront, relying instead on the terms and conditions of the invoice delivered after the shoot to help spell out the scope of the job?

Unfortunately, that’s a recipe for disaster and ill-will, and the TOC on the invoice will have little impact in governing the transaction because they weren’t presented to the client for consideration prior to the work being completed.

Over the years, I’ve reduced the “boilerplate” language in my paperwork to a minimum because I’ve found that it’s often the paragraph after paragraph of boilerplate terms and conditions that frightens the client or in many cases prohibit the frontline editor of corporate contact who’s hiring me from signing the agreement. Once I reduced the boilerplate, I found that I had very little resistance to getting my contracts signed, while I still felt adequately protected.

My terms include just three easily understood topics. 1) Payment: no rights are granted until payment is received in full. 2) Usage: the only rights granted are those specified in the contract. 3) Warrants & Liability: I promise that I have the authority to convey the rights, while the client agrees to hold me harmless for their use of the work. Everything else — the description of the job, the rights granted, the fee & production — feature prominently on the paperwork and are specific to the individual job.

ASMP has a wonderful Terms & Conditions section on the website, with sample clauses to cover most any consideration.

Shawn G. Henry is currently a national board member of ASMP. He’s survived for more than 22 years as an Editorial Photographer…

Editorial Photography is as Important as Ever

[by Rosh Sillars]

No matter how the future of journalism shakes out, the need to tell stories with photographs will always be a part of the picture.

At some point, the traditional media we have known all our lives will cease to exist. In the future, companies will be their own media outlets, depending more upon professionals to share their stories. Photographers who position themselves well will be able to take advantage of this opportunity.

The Web is a visual place.  News, sports and editorial websites will continue to demand fresh content and imagery.  Photographers are beginning to develop relationships with these new media outlets. Although most online channels are not mass media companies, they have opportunities for photographers as more are beginning to value good photography. The quality of e-paper-based technologies will continue to improve and the demand for creative, high-quality images will increase.

Don’t forget about video.  The new cameras now include video, which is an excellent support to help us share the stories we are hired to tell.

Rosh Sillars is a veteran photographer. He is the host of the New Media Photographer podcast and co-author of the book, “The Linked Photographer.”

Thoughts on Editorial Photography

[by Suzanne Sease and Amanda Sosa-Stone]

The whole question is print dead?  We don’t think so – it may have slowed down, but it’s still alive and kicking (as far as we know).  With O Magazine, Parent Magazine, New York, Real Simple (Amanda’s desk), Esquire, New York, Vanity Fair, Bon Appetit, Time, National Geographic as well as others (Suzanne’s Desk) sitting on our desks, we can’t help but notice there is still a pulse.  We are seeing a lot of new ads in the magazines as well as new names in photo credits!  Which reminds us- a photo credit is worth so much more than the fee.  It is being seen by millions of people a lot of them creative and buyers who are looking for ideas in photography!  We found many photographers for assignment shoots this way.

Take for example Bob Croslin.  Florida photographer has been swamped with editorial work for months now (going from ESPN to Men’s Fitness to Tennis Magazine).  So the question is – is there a reason to pursue editorial.  Of course if you like taking pictures to tell a story.  Is it viable?  Ask Bob!

There are some professionals who still to this day only shoot editorial and live only on that.  Editorial often use photographers who they trust and know.  But do not be afraid to get out there and introduce yourself.  Emails can be overwhelming.  Find other ways to connect with those Photo Editor’s and Art Directors who hiring.  Just quoted from James Mullinger, Photo Editor, GQ was written on A Photo Editor via Wonderful Machine Photography Blog…”juggling up to 30 shoots at a time, sourcing thousands of pictures… And when I get through the month without dropping a ball, I feel satisfied for a second or two. And then it all starts again…”.

Now that is what we call a heartbeat with a strong pulse.

Amanda Sosa Stone and Suzanne Sease consult with photographers around the world assisting in marketing and presentation efforts.