TABLE of CONTENTS

PART I

23

4 INTRO
4

What Is Editorial Photography?

Making Money & Profiting From

Editorial Assignments

27

Marketing Your Editorial Photography

30

What Fashion Photo Buyers Want From

Photographers
Featuring Emily Shornick

Harnessing the Local Market

Featuring Nicolle Clemetson

Capturing Big Personalities

Featuring Jason Myers

PART II

9 PROFILES
PART III

34 CONCLUSION

Tips for Pitching Editorial Clients and

Landing Gigs
Featuring Erin Patrice OBrien

13

Building Lasting Client Relationships

Featuring Dave Clifford

17

How to Work with Photo Editors

Featuring Leslie Baldwin

21

Q+A with A Photo Editor: National

Geographic
Featuring Elizabeth Krist

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BREAKING INTO EDITORIAL PHOTOGRAPHY

THE PHOTOGRAPHERS GUIDE TO TWITTER

3
3

PART I

What Is
Editorial
Photography?

ost often defined as photography used by magazines within articles, editorial photography
is also used in newspapers, books and on websites. Editorial photography illustrates and expands on
an articleand can even be the main focus of the articlewhereas commercial or advertising photography
is used to sell a product. For magazines, especially the
more visually driven ones, the photography is an important part of the product. The most coveted photo in
a magazinethe covercan even make or break sales
of an issue.
Opportunities to get hired and shoot editorial work
exist at all levels of the market, from small local publications to international magazines like Vogue and National Geographic. Shooting for top magazines sounds
glamorous and can pay nicely, but most editorial staffs
have tight budgets and cant match the amounts that
commercial clients pay. Nevertheless, working on editorial projects can offer more creative freedom, which is
a perk for many photographers. I like taking portraits
of people, meeting people for the day and telling their
story, capturing who they are, not selling a product, says
Brooklyn, N.Y.-based photographer Erin OBrien, who
has shot portraits for People, Entertainment Weekly and
Newsweek. Editorial work can also lead to regular assignments, give valuable exposure for your business and
provide a chance to network with other potential clients.

TYPES OF EDITORIAL CLIENTS

If youre thinking editorial photography is limited to the
big glossies, think again. Even though the magazine industry isnt as strong as it used to be, there are still lots
of outlets that hire shooters, including local and regional
magazines, trade industry magazines, association magazines, and alumni publications. Corporate communications departments of large companies publish internal
magazines for their employees. Even some brands, like
Red Bull, Target and AirBnB, are publishing print and
digital magazines and other content that takes an editorial approach.
Most editorial projects originate with an assignment
from a publications photo editor or art director. Assignments can vary from covering a live event or photographing products in a studio to taking a portrait of
a local chef or traveling to shoot a destination. If youre
looking to get into editorial photography, play to your
particular strengths and start by seeking out clients who
need the types of photos you excel at and enjoy taking.

Whether your niche includes still shots, portraits or environments, most photographers can parlay their skills
for editorial clients. Magazines need photographers
who can shoot everything from creative product shots to
compelling portraits to atmospheric travel shots, sometimes all in the same issue.

BREAKING INTO EDITORIAL PHOTOGRAPHY

PART I

Making Money
& Profiting
From Editorial
Assignments

ts no secret that editorial rates are low, havent

budged much in years, and will probably remain low. Most magazines still pay around
$500-$1,000, plus expenses a day, and thats how much
they paid in 1999, says OBrien.
With that in mind, its important to get as much information about the assignment and how the publication
pays photographers before agreeing to a shoot. When
talking with an art director or photo editor, first get a
sense of the scope of the project. Will it be on location
where weather will be a factor? Will you need to bring
or rent equipment? Will you need an assistant, a stylist
or hair and makeup? Who is arranging the details? Do
they have a fixed concept or is it up to you to find a way
to tell the story? How quickly will they need the photos?
All these answers will help inform not only your creative vision for the shoot, but also the time and expenses
needed to produce it.
Some magazines will pay a day rate; others may pay
according to the number of photos used and at what
size. Most publications will also pay for production
time and expenses. Photographers may be paid an additional fee if an image is used on the cover, on the
Web or reprinted in another product, like a special issue. Some magazines also charge article subjects for
reprints of their articles and pay a licensing fee to the
photographer who shot the photos.
Rights and fees for these additional usages will be
spelled out in a contract, so its important to read and
understand your contracts thoroughly before accepting
assignments. Typically editorial clients will ask for the
rights to the images for a certain period of time, which

means that you maintain the copyright to your work,

can display it on your website, and can sell the image
according to the permissions granted by your subject.
If youre not comfortable with elements of a contract,
dont hesitate to negotiate. The vast majority of editorial clients will be working within a set photography
budget, but some publications may be willing to make
contract changes that could sweeten the deal. If youre
in a unique position to deliver what they needyou
live in a far-flung location or specialize in the style they
want, for instanceyou may have more leverage for
negotiation. For a breadth of tips on how to handle
budget negotiations, download our guide Pricing Your
Work: Magazine Photography.

RESELLING EDITORIAL PHOTOS

When deciding whether to take a job, keep in mind that
you may be able to sell the images elsewhere once they
have run in the publication. If you photograph a local
business, they may want to use the photos for promotional materials lateror they may be in the market for
a photographer to do their own shoot. Make sure you
get contact information for your subjects so you can follow up later with a link to a gallery from the shoot.
When adventure photographer David Clifford shoots
athletes who have clothing or gear sponsors, he is sometimes able to sell images to the clothing company for
catalog shots. Likewise, OBrien resells a lot of the portraits she takes for publications. I have a few images
that are the only ones that exist of a person, she says.
One of those images, of Amy Chua, author of Battle
Hymn of the Tiger Mother, has been especially lucrative

BREAKING INTO EDITORIAL PHOTOGRAPHY

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because Chua didnt sit for many other portraits with her children. The first year that
I shot it, I made $10,000 in resales, says OBrien.

GETTING A FEE YOURE HAPPY WITH

Since every editorial photo you shoot wont offer guaranteed resale returns, its worth
it to maximize assignment fees as much as possible from the get-go. John Harrington,
author of More Best Business Practices for Photographers, frequently asks if he can be paid
for a prep day, or he includes rental of his equipment in his expenses. There are creative
ways that you and a photo editor can work to get you the appropriate rates for what
youre doing. The key is to know how to ask them, he says. Harrington shares more
negotiating tips in this video answer to the question, Should I Turn Down Editorial
Photo Work with Poor Day Rates?

BREAKING INTO EDITORIAL PHOTOGRAPHY

PART I

Marketing
Your Editorial
Photography

or editorial photographers, marketing is an

essential piece of the business. Marketing
strategies include creating printed mailers to
be sent to art directors at the publications youd like to
work for, scheduling email newsletters with your latest
work or tear sheets of recent jobs, keeping your website
up to date, and growing and maintaining a social media presence so that prospective clients can see youre
producing new work.

HOW TO PITCH YOUR WORK TO EDITORIAL CLIENTS

Once youve identified a magazine youd like to shoot
for, take some time to look through several issues to get
to know what types of photos they publish. Also check
their website to see if they publish photographers guidelines about how they prefer to be contactedand follow
them. Keep in mind that photo editors and art directors
are very busy, so for a cold email pitch, keep your message brief and focused.
Im very careful to be sure that its appropriate to that
clients needs because I know these guys are so inundated with pitches and promos from photographers.
I want to be sensitive to that, and only send relevant
work so clients will seriously consider me next time
theyre looking to hire, says Alexa Miller, a commercial and editorial photographer based in California
whose work has appeared in Seventeen Magazine, Fitness and others.
For new contacts, OBrien puts together a PDF miniportfolio that is tailored specifically to them, sometimes with pictures from her archive that arent on
her website.

Here are 7 key marketing tips from editorial photographers interviewed for this guide:
1. GET FACE TIME: Both Clifford and OBrien said they
prefer to meet face-to-face with potential editorial clients
in order to sell themselves. Whether you request a portfolio review, participate in an event like NYFotoWorks or
offer to buy a photo editor coffee, meeting in person allows
you to present your work, tell your story and showcase how
great youd be to work with. If youre traveling, reach out
to photo editors in that city and let them know youll be
in town. You have more of a chance of getting a meeting
when youre in town for just a few days, says OBrien.
2. DONT LEAVE HOME WITHOUT YOUR PORTFOLIO:

You never know when youll have a chance to show your

work to a potential client. OBrien keeps a book on her
iPad that she can pull up quickly when opportunity
strikes. Or Ill bring it to a job if the photo editor is
going to be there, she says.
3. KEEP TRACK OF PHOTO EDITORS AND ART DIRECTORS: Whether its through LinkedIn or other social

channels or paid services like Agency Access (www.agencyaccess.com) or Yodelist (www.yodelist.com), its smart
to keep track of who works where in the rapidly changing
editorial world. That way, when your favorite photo editor
moves up the ladder, you can be among the first to congratulate her and offer your services.
4. KEEP YOUR SOCIAL MEDIA FRESH: Even though you
havent heard from a photo editor in months, they may
be following you on social media or they may mine your
feed to see what youve been up to. Regular postings act
as a living portfolio and let them know youre in demand.

BREAKING INTO EDITORIAL PHOTOGRAPHY

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5. ENTER PHOTO COMPETITIONS: Aside from the press you receive from winning an
award, you may also get invited to a party for the awards where you can get that allvaluable face time with more potential clients. Contests to consider include: PDN Photo
Annual, Communication Arts Photography Competition, and Nikon Photo Contest.
6. DO GOOD WORK: Need one more reason to make a great impression on every single

job? The editorial photo editor community is a small one, and your reputationgood
or badcan spread quickly. When Clifford was a photo editor, he would regularly call
other photo editors for recommendations. Even competing magazines would have
conversations about who to hire, he says.

7. DONT GET DISCOURAGED: I always say to people that are just starting out, you have

to keep in touch every few months, says OBrien. Just because they didnt hire you right
away doesnt mean that they wont. When youre starting out they need to see that youre
progressing. I just try not to take stuff personally and keep in touch with people.

BREAKING INTO EDITORIAL PHOTOGRAPHY

PROFILE

Tips for Pitching

Editorial Clients
and Landing Gigs
Featuring Erin Patrice OBrien

ith a degree in fashion design from Drexel University and just a few photography classes under her belt, Erin Patrice OBrien moved to New York
City in 1995 determined to build a career in photography. She learned on the job
by assisting for three and a half years while she worked on her portfolio. Since going out on her own, OBrien has built a business as an editorial and commercial
photographer specializing in celebrity, youth culture, portraiture, and kids photography. Shes photographed A-list actors, politicians and musicians for the likes of
Entertainment Weekly, Newsweek, Premiere and many more.
How did you get your first breaks into editorial photography?

My first big break was when I brought a personal project

about the UniverSoul Circus to George Pitts at Vibe Magazine. They published it as a five-page spread. At the same
time a magazine called Stress, which was an underground
hip-hop magazine, also hired me to shoot for them. Their
founder Alan KET, went on to start Complex and also
work at Vibe, and we have continued to collaborate.
What advice do you have about editing your portfolio to
attract the editorial clients you want?

erinpatriceobrien.com

You have to figure out what you want and love to shoot,
and show that in your book. What gets you hired is
when you show who you really are. Dont show anything
unless you love it, unless you think its really good.

You have to assume that a photo editor knows that any

good photographer can take a picture on a white seamless. So unless its an amazing picture, you dont have to
show it in your book. Even if you were hired by a really
good magazine, if its not your best picture, dont put it in
your book. Even for a high-profile magazine, there are
so many things that can come into play in a shoot. The
person can be unphotogenic, the hair and makeup could
be terrible, and the location could be awful. You just have
to make it work the best you can for that day on that
shoot, and hopefully its amazing, but if its not, dont put
it in your book.
What advice do you have about contacting new potential clients?
I think the best way is reaching out and then staying
in touch via email, printed mailers and social media. I

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always think photo editors are getting so much email, and they forget about people,
too. So its good to keep in touch.
For someone starting out, dont expect to be hired right away. Photo editors want
to see a progression in your work. If you touch base every few months with new
work, its a way to show you latest work and keep you on their radar until the right
project comes up.
Do you try to meet with photo editors in person?
Meeting in person is great. I think its important to see photo editors so they remember that youre out there. For meetings, you have to be a little vulnerable, so
its something thats easy to put off, but its important. Keep in mind as you start
going in for meetings that they are always very quick. You cant take that personally. Photo editors have a lot going on, so they usually only have about 10 minutes
to meet with you.
How do you prepare for a meeting with a new potential client?
Before a meeting with a photo editor, Ill put together a customized PDF of images I
think are relevant for the magazine, if theyre not in my book already, and show both.
Im always shooting personal projects on the side of subjects that I really like to photograph the way that I see it. I bring in some of that personal work in another book, and
show that as well. Photo editors and art directors like to see the personal work. It shows
how you think and what your other interests are.

Photo by Erin Patrice OBrien

You have to figure out what you want

and love to shoot, and show that in
your book.

How do you show your work?

Im experimenting with different ways to print my portfolios. There are all these online
book publishers now, so you can make your own book, set it up online, and then it
comes in the mail. I have a book on my iPad so if Im going to be somewhere where I
could have the opportunity to show someone, Ill bring it. Or if I have a job, Ill bring
it to the shoot if the photo editor is going to be there.

What marketing tools are most important to you? Social media? Networking? Website?
I think all of those are good. I do newsletters and I do personal emails with pictures.
If I have a new contact at a magazine, Ill put together a PDF of work that I think is
relevant to the magazine. Its like a mini-portfolio that is more specific to them, maybe
with pictures from my archive that arent on my website right now. I also make promos
and send them in the mail. I also think social media is useful because it shows the
photo editors that youre working.

BREAKING INTO EDITORIAL PHOTOGRAPHY

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I also enter some of the photography contests, which can be good for marketing. I had
a picture in American Photography last year, and then I got to go to their party and connect with people in person.
However you choose to market your work, I recommend keeping track of who is
working where on LinkedIn because people move around a lot. Ive used Yodelist and
Agency Access at different points, and I have a database of everybody and keep track
of clients with that.
When it comes to landing clients, are there any lessons you wished youd learned earlier?
I wish I wouldnt have spent so much time worrying about being too pushy. If you are
not being assertive, someone else is. Hearing no response can be disheartening. However, many times photo editors have called me years later from a promo that I sent or
an email reference.
How do you ensure you are making enough money as an editorial photographer?
Most magazines still pay around $500-$1,000, plus expenses a day, and thats how
much they paid in 1999, and the rates havent gone up. I think that basically you have
to have more than one income from photography. I completely support myself with
photography, but I do editorial, I do stock, I syndicate my work. People contact me for
usages of images Ive had in the past.
I will also try to negotiate for more money. Sometimes it works and sometimes it
doesnt. If a job is not a great job and they want a lot of work for a really low day rate,
I will turn it down just because Ill lose money. Ill also turn down a job if they are
trying to take rights away in the contract. I wont just let them take that over. You
can make an extra $500 to $1000 from reprints, for instance, so make sure you will
get paid for that usage.
When the magazine business scaled back a few years ago, I decided to adapt my style
to make certain editorial jobs more worthwhile. In order to shoot without all of the
lights and big production, I developed another style that was more reportage style that
is more cost-effective.

Photo by Erin Patrice OBrien

BREAKING INTO EDITORIAL PHOTOGRAPHY

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Do you find that editorial shoots lead to other work or income?

I think the type of photos I shoot help lead to other work because I photograph people
who are recognizable. I have resold a lot of images that Ive shot for different publications. For instance, I did a shoot for a real estate magazine that paid $500 flat, including
everything, but it was of Dan Doctoroff, who was the last CEO of Bloomberg. I knew
there would be a resale value, but also the location was amazing and I got a great photo
out of itand it took me 15 minutes. In that case, it was worth my while.
I also sell my photos as stock through Getty and Corbis. I have a few images that are
the only ones that exist of a person. I shot a photo of Amy Chua, author of Battle Hymn
of the Tiger Mother, and her children for The Wall Street Journal. That photo has sold so
much because she didnt do any more shoots with her kids after my shoot. The first
year that I shot it, I made about $10,000 from that one photo because it was hot at the
time and it was the only photo. For fun, I would search Google to see if anyone used it
without paying for it. I emailed them and told them they had to pay for it, and they did!

Photo by Erin Patrice OBrien

Photo by Erin Patrice OBrien

BREAKING INTO EDITORIAL PHOTOGRAPHY

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PART II

Building
Lasting Client
Relationships
Featuring Dave Clifford

avid Clifford has been on both sides of editorial photography. A soughtafter outdoor photographer and videographer with more than 20 years of
experience, this Aspen and Denver, Colorado-based shooter is also a former photo editor for Rock and Ice Magazine and Trail Runner Magazine. As a photo editor,
he has mentored many of the best outdoor photographers in the U.S. and helped
start the Rock and Ice photography workshops. Now a full-time, award-winning
photographer, his editorial clients include National Geographic, GQ, Mens Fitness,
Outside Magazine and more.
How do you find and market yourself to photo editors you
havent worked with before?
Theres never one way to go about it, but if you want to
make a connection with a new photo editor, you should
do something personal. Send them a mailer with a personal note, and then try to get face time. If youre visiting their city, give them a heads up and say, Im in
your area, Id like to buy you coffee. I dont think theres
a better way of getting the attention of a photo editor
than just getting five minutes of face time, buying them
coffee and being very personable.

davidcliffordphotography.com

I also meet photo editors at NYCFotoWorks. Its a great

tool. Once they see my work and meet me face to face
they often will remember me and my work.

How do you make the most of an event like NYFotoWorks?

FotoWorks puts together a list of reviewersphoto editors, art buyers, reps and agenciesand you can buy into
meetings. If youre a new photographer, youd try to get
in with photo editors that youd like to work with. If
youre more experienced, you might try to hook up with
an agency or rep that has clients that mesh up with the
work that you do.
You have 15 minutes to make an impression, so you really have to have a good portfolio or presentation put
together. It would be smart to have multiple books ready
to go if you shoot different things.

BREAKING INTO EDITORIAL PHOTOGRAPHY

13

How do you make best use of your time with a photo editor?

II

I shoot video and photos, so I usually bring in a short

video. I like to show that first, then show them my
book for about five minutes, and then talk for five
minutes. Sometimes the reviewer will dictate how the
meeting is going to run, but Ive always had more success if I dictate how the meeting is going to be run,
without being difficult. I try to get them hooked on
what I can do, tell my story, and then we have some
time to chat and catch up.

III

I think its important to not only present your book well

and your work well, but also to be very personable. They
can get a sense of whether or not they want to work with
you. Thats really important.
When working with a new client, how do you make a
good impression and showcase your professionalism?
I would like to think that the images speak for themselves, but in reality there is so much more to it. Every
time I do a job, I try to make sure I over-deliver; that
theyre so happy with the photos that theres no reason
they would think of hiring somebody else in my area. I
try to be over-prepared and on time and do my best to
communicate.
For example, Ill spend a whole day prepping for a
shoot so everything is ready the night before. I make
sure my equipment is charged up and everything
works. Ill pack lights in case the day is too dark. I also
put together a little kit on the side with things like a
screwdriver, an Allen wrench, fresh batteries, and gaffer tape; if something goes wrong I can fix it on the fly.
You cant prepare for everything, but you have to have
a couple of things ready to go.

Photo by Dave Clifford

I also make sure to stay in touch with the photo editor if something goes wrong. For example, for a recent
Wall Street Journal shoot, the athlete I was supposed
to photograph was overbooked and rescheduled
twice. Right away I contacted the photo editor to
let her know. When it finally came together, I went
above and beyond by going to a mountain with one
of the best views in all of North America. It made for
a longer day, but the photo editor was thrilled and
actually told me to invoice for more than the price
wed agreed on.

Do you like to bring new ideas to the table when working

with a photo editor or let him/her take the lead? How do
you balance this?
When I have an idea for a shoot I will often get the shot
the photo editor needs first and then get something I
think might be more creative or slightly edgier. I remember a time when there werent as many photographers and
it was easier to build a reputation. Now there are so many
photographers fighting for space that you really do have
to go the extra mile to make sure they want you the next
time. Always get the bread and butter shots first, though.

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Photo by Dave Clifford

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How do you handle the negotiation process with photo

editors so you get a price you feel good about?
Getting an editorial rate that you feel good about is not
an easy thing to do. If its an editorial shoot I ask for additional payment to cover any related expenses that are
not always covered.
There are other factors to consider, like how quickly a
magazine pays photographers. Some of these big players
are just really cheap, but some of the smaller magazines
are paying almost as well as the big ones, and theyre
paying 30 days from publication automatically. I like
that. Tracking down payments is a hassle.
Do you find that youre able to sell your editorial images
elsewhere once the shoot is over?
I sell a little on stock, but it doesnt work for a lot of
my work. But if I think I can resell images on stock, Ill
ask my model for a model release. Ill let them know
that I might try to sell the photos in the future, and
Ill give them a kickback of $20 to $100. But I dont
make a lot of money because I dont put a lot there and
also because the stock market imploded five or seven
years ago.
For me, Id rather use editorial shoots as a tool for bringing in bigger clients. I sometimes find value in overproducing a shoot on the editorial side so that I can do a
direct sale later. For example, an athlete I was shooting
for The Wall Street Journal was sponsored by a clothing
line. After the paper uses the photos, I can submit those
shots to the clothing line for potential catalog sales.
Sometimes it works, and sometimes it doesnt.

I think its important to not only present your

book well and your work well, but also to be very
personable.
Whats the biggest challenge in working with photo
editors?
The biggest challenge working with photo editors is that
they are often limited on time. So you should be easy to
work with and communicate well. I often get calls from
editorial clients not just based on my work but also on
my ability to communicate with the photo editors.
Do you have any donts for working with photo editors or
lessons learned the hard way?
I remember when I was a photo editor I emailed three
low-res digital images to another magazine photo editor
whom I wanted to shoot for. He was upset with me for
not following the standard protocol that the magazine
had set up for photographers to submit work. From that
I learned that you should always do due diligence when
you want to work with a photo editor. Find out how
they prefer to be contacted, if possible.
How do you keep in touch and foster the relationship after
a job is over?
Honestly, I am terrible at keeping in touch with photo
editors. I assume they are very busy and will call me
when they need me. But I do use social media to showcase what Im working on.

Instagram, to me, is the most important social media

tool out there. It aligns perfectly for photographers. Its
a great way to show photo editors and art buyers what
youre up to or show something youve shot in the past
that you havent shared. At first, I used Instagram as
more of a diary, but now I look at it as a curated gallery
of images that I think people will want to see. Ive had
art directors and art buyers contact me directly because
of something on my Instagram feed. For instance, when
I was traveling recently, a photo editor in that city saw
that Id posted a picture from a local coffee shop and
messaged me to see if we could meet for coffee.
What do you post on Instagram?
I post lots of running, climbing, skiing, and some portraits. I try to make sure the images are either inspiring,
beautiful or relate in some way to my audience. I post
about once a day about five days a week. Ill do one Instagram post and copy it to Facebook and Twitter.
For a while I only had 200 followers. To grow my following, I spent two months posting shots that I thought
were awesome and that people would like, and Id
hashtag it. I grew to 2,600 followers in a few months
by posting images that had power and relevance to my
followers. And thats not a lot compared to others, but
it works for me.

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PART II

How to Work with

Photo Editors
Featuring Leslie Baldwin of Texas Monthly

eslie Baldwin has been the photography editor for Texas Monthly, a 13time National Magazine Award-winning regional magazine, for 11 years.
She got her start in the photography world in New York City, where she worked
as studio manager for photographer and illustrator Matt Mahurin and then as
cover coordinator for Time magazine creative director Arthur Hochstein. Heres
an inside look at how a magazine photo editor works and what shes looking for.
How did you become a photo editor?
I studied fine arts at the University of Texas, and while
I learned a good deal, looking back I realize I learned
more by working. I really had to hustle to figure out how
to make a living using my degree. I moved to New York
City in 1995, which turned out to be a good move for
me. I could see that photography had real-world practical application and that if I worked at it, I could find a
way for myself in the industry. I learned about the photo
industry first-hand. Thats the type of experience you
just cant get in school.

texasmonthly.com

During my eight years in New York, I worked as a photo

studio manager, a position I had never even heard of
when I was in college, then as a freelance photo assistant. Eventually I landed a gig at Time magazine as an
assistant in the art department. It took me a while to
figure out that photo editing was what I wanted to do,
and Ive pretty much been doing it ever since. All in all,
its been a great ride. And a lot of work; at times tedious,
but often creative. I came home to Texas 11 years ago
when I was hired as Texas Monthlys first photo editor.

Cover of Texas Monthly, photo edited by Leslie Baldwin

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Photo by Wyatt McSpadden

In my current position, I handle most photo assignments and photo research for the
printed version of magazine.
How do you discover new photographers?
Sometimes new talent will come to our attention through social media, but most of
the time its via direct e-mails from photographers who have impressive websites. I also
look at promo cards that come in the mail, and check out the talent in other magazines,
photo annuals, and the like.
How do you prefer to be contacted?
E-mail is still the best way to contact me. I get a lot of mail so I cant promise to
respond to everyone, but I do bookmark those whose work catches my attention
and certainly might circle back to themeven if months have gone by since their
original e-mail.

Photos by Peter Yang & Leann Mueller

Photography is everywherewere
inundated with itso when a
photographers work makes me pause
and really look at it, I take note.
What do you look for in a new photographer?
Its hard to express exactly what I look for, but a consistency of high-caliber work on a
nice website is a must. Photography is everywherewere inundated with itso when
a photographers work makes me pause and really look at it, I take note. Maybe its
something unique in their portraiture, the lighting, or color palette that moves me. Its
hard to articulate, but you know it when you see it.

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III

SUMMER WEEKENDS |

II

FIRE, BRIMSTONE,
AND ROBERT JEFFRESS
b y SKIP HOLLANDSWORTH

P.44

WHO PATROLS THE

BORDER PATROL?
b y NATE BLAKESLEE

P.102

THE UNOFFICIAL
MAYOR OF HOUSTON

T E X A S M O N T H L Y. C O M

Summer

b y KATY VINE

P.106

MINOR
LEAGUE
BALLPARKS
(P. 118)

Weekends!
IS THERE ANYTHING BETTER?

Its obvious when a new photographer has given it their allyou get what you asked
for and more. Its also important that they deliver their work promptly and that its
organized. Having a good attitude and friendly disposition also helps.
How do you make sure your photographers get the shot needed?

| VOLUME 42 | ISSUE 5

When were looking for something very specific we might provide a sketch, or sometimes schedule a conference call to work through the details with the art director. We
also might point to a sample on the photographers websiteor someone elses siteto
illustrate the type of image were going for.
How can a photographer build a good relationship with a photo editor?
There are a lot of demands on photographers. Its much more than just being an artist.
Not only do they need to consistently do great work, but they also need to be fast, be
flexible, be good communicators, and be easy to work with. If you possess those qualities, you should be able to develop a good relationship with photo editors.

13 GREAT
GETAWAYS
0
5.
1
4

How can a new photographer make a good impression on their first job from you?
How can they ensure they will get rehired?

FROM HORSEBACK RIDING

IN THE PANHANDLE
TO FISHING IN BAFFIN BAY
TO DOING NOTHING
AT ALL IN THIS PERFECT
HILL COUNTRY POOL

WILL ROCKETS RUIN

THE TEXAS COAST?
GO AHEAD,
HAVE A MICHELADA
HOUSTON TRAFFIC VS.
AUSTIN TRAFFIC

Pack your bags

and turn to page 83 . . .

Cover of Texas Monthly, photo edited by Leslie Baldwin

Do you have any donts or pet peeves about working with photographers?
Yes, I have a few! I dont like it when a photographer is running late on delivery and doesnt
touch base. I would much rather they simply check in to tell us they are behind and what
to expect rather than falling off the radar. Also, a professional attitude helps when, on the
rare occasion, we need a reshoot or additional shooting to get something right. Some photographers are better than others about taking constructive criticism when the need arises.
How much stock imagery are you using in Texas Monthly?
Very little. Our budget isnt huge, but we are still able to do many assignments each
month, thankfully. If we need historical photos or current events images, we use stock
for that. Some stock sites are so expensive now that wed rather hire a photographer and
create original work whenever possible.

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Does Texas Monthly hire out-of-state photographers?

II

We have an amazing talent pool right here in Texas (and its growing) but we are
fortunate enough to be able to hire out-of-state when we want. Its really up to the art
department when or if we go out of state. Sometimes its purely for aesthetic reasons.

III

For example, we love Joe Puglieses portraiturehis sensibilityso well hire him for a
couple of covers each year. And occasionally well have a Texan subject who happens to
be in Los Angeles or New York, so that will create the opportunity to hire out of state.
We have a lot of freedom, thankfully, as long as we stay on budget! Texas Monthly offers
some pretty great assignments, and photographers are aware of that, so it opens up the
opportunity to work with great talent all over the country. I get contacted almost daily
from photographers out of state who want to work for us.
How has the industry changed in the past five years?
Its no secret the industry is facing tough times. There are so many unknowns about the
future of print, and budgets are shrinking. Yet theres still need for contentmore than
everso in that respect its tougher than ever. That said, theres work out there for talented photographers who work at their craft and are flexible enough to provide whats
needed. Many of our local Texas photographers stay busy a lot of the time.
What advice would you give to photographers about how to succeed in editorial photography?
My advice for kids breaking into editorial photography is that if you are talented and
passionate about photography, just dedicate yourself to creating the best work you can.
Set your sights high, learn to be technically versatile, and take the time to properly
market yourself. Other than that, just be persistent. And nice!

Photo by Dan Winters

Theres work out there for talented

photographers who work at their craft
and are flexible enough to provide
whats needed.

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PROFILE

Q+A with A
Photo Editor:
National
Geographic
Featuring Elizabeth Krist, Senior Photo Editor
at National Geographic Magazine

lizabeth Krist, Senior Photo Editor at National Geographic, and the rest
of the Nat Geo team seek photographers who have an eye for composing
striking and electrifying images. But perhaps even more importantly, they want
photographers who have a real curiosity about the world around themthose who
arent afraid to delve into the intellectual and research aspects of an assignment.
National Geographic covers everything from natural history
to the environment to geopolitics, so the editors are always
interested in finding new photographers who specialize in
subjects that are relevant to the magazine. Plus, Nat Geo
still invests the resources to put photographers in the field
for anywhere between 4-12 weeks, so choosing the right
photographers who can create meaningful narratives with
their images is crucial to the magazines success.
To give photographers a better sense of what goes on
behind the scenes at National Geographic, Elizabeth
provided some insight into what type of work the magazine commissions, how photographers can pitch Nat
Geo, and what you can do to get noticed.
With so much outdoor photography available, how do
National Geographic editors choose whats best for the
different sections of the magazine?
In the front of the book (industry speak for the first
few pages of the magazine), we have Your Shot and
Visions, where anyone is invited to submit a photograph. Visions is usually for professional photographers,
whereas Your Shot features more amateur or aspiring

photographers. Photos for Visions need to be horizontal, and are almost always in colorkeep in mind that
the gutter will run directly down the middle. Images
with authentic emotion, or that convey a sense of wonder, have an advantage.
The feature stories in the well (the center of the magazine) are almost always commissioned. About half of
these stories are conceived by freelance writers and photographers, and half by our own staff. Photographers
are assigned on a per-story basis from a core group of
regular contributors. Were interested in narratives over
single images, and try to create photography that tells a
story revealing something extraordinary.
Photographers should also look closely at our website to
familiarize themselves with Daily News, Proof, and our
other digital offerings.
Whats the best way for a photographer to get your
attention?
The most important feature I look for in a photographer
is dedication to long-term projects. Another major plus

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The most important feature I look for

in a photographer is dedication to
long-term projects.
is having access to rare events or hidden worlds, and nowadays, expertise in video and
audio as well.
Photographers who happen to focus on needed specialtieslike archaeologyhave
a better chance of attracting my attention, too. Securing a referral before you contact
me, and putting that in the emails subject line, is another good way to reach out to me.
About how much stock is used in the magazine and what agencies do you find yourself
returning to?
Stock is used in the departments in the front and back of the magazine, but is used quite
rarely in the print feature stories. We do of course pick up historical material occasionally.
And we use stock quite a lot on out website, in Daily News, for example. Im hesitant to
mention any agencies by name, as it varies so much depending on what were looking for.
But our first call is often to our own archive: National Geographic Creative.
Is it better to approach a magazine like National Geographic with a photo project before,
during, or after the projects completion?
If we know your work, we like to hear ahead of time about projects you might be planning.
But if we havent worked with you before, it would make it easier if you could show us your
coverage in progress, so we can better understand your intentions and your style of shooting.

in order to prevent images of their artifacts appearing without their permission. And
even in those cases we often negotiate to allow photographers to display the images
in their portfolios.
Many National Geographic stories seem to be written in the field while the photographer and writer are working together. At what point does the writer become involved?
How often do photographers write their own stories?
It is extremely rare for one person to write and photograph a story. Occasionally a photographer will work with a writer or text editor who will help them draft long captions
for a story that is more of a picture portfolio. But in most cases a writer is assigned at
the outset when a photographer is assigned.
Here are some of the resources Elizabeth mentioned in encouraging photographers
to explore and look:
PHOTO FESTIVALS: Visa Pour limage in Perpignan, France; LOOK3 in
Charlottesville, Virginia; Palm Springs Photo Festival
PORTFOLIO REVIEWS: Review Santa Fe, Eddie Adams Workshop, Palm Springs
Photo Festival, FotoWeek DC, Photo Works, New York Times
WORKSHOPS: Santa Fe Workshops, Eddie Adams Workshop, FotoVisura
WEBSITES: National Geographic, New York Times Lens Blog, TIME LightBox,

New Yorker Photo Booth, Magnum Photos, VII Photo Agency, Burn Magazine,
Visura Magazine, Photo-Eye, MediaStorm, Feature Shoot, FotoVisura, and LOOK3

COMPETITIONS: World Press, Pictures of the Year, PDN, Critical Mass and Your Shot.

As a photographer, can you use an image sold to National Geographic for your own portfolio?
Photographers always keep copyright unless we buy out their images, which happens extremely rarelyusually only when a museum requires us to secure all rights

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PROFILE

What Fashion
Photo Buyers
Want From
Photographers
Featuring Emily Shornick from New York
Magazines The Cut

mily Shornick is the photo editor of The Cut, New York Magazines
dedicated fashion section that occupies a stand-alone website as well
as six pages in print. For just over two years almost every photo used for The
Cut has passed through Emilys desk.
We chatted with Emily to find out what shes looking for from photographers, where she finds new talent,
plus how she likes (and doesnt like) to be approached.
Do you actively look for new talent?
Yes, I am actively looking for photographers. Im always
trying to find something new and exciting. I noticed recently that I gave about 15 assignments just this month.
I would love to be approached by more photographers,
to be inundated by portfolios, actually.
Where do you turn for new work?
I go to portfolio reviews and I look at mailings (though
theyre not as effective as an email). I read a lot of photo
blogs. I love FlakPhoto, I love Feature Shoot and Paper
Journal. There are a million.

Headshot by Susan Rosenberg Jones

nymag.com/TheCut

Word of mouth accounts for a lot though, too. There

are Facebook communities for photo editors, and
email chains, and I have photo editor friends. If Im
looking for someone doing a particular type of photography and I dont know that area well, Ill reach out

to my friends. Which is why its important not to burn

bridges. Its a very small field and we all talk.
What about social media, do you find photographers there?
Im all over Instagram. I follow photo editors and like to
check out who theyre following. I follow lots of photographers and if I like their taste, Ill see who theyre keeping tabs on. Micro movements tend to emerge that way.
Instagram is great because it shows me how people are
going to work in the digital sphere, and what their images might look like on a small screen. I can also get a
sense for who a photographer really is, as well as the
photo community theyre participating in.
Too often in portfolio reviews photographers are catering to what they think a photo editor wants to see,
and they might have been given some bad advice thats
dictating how theyre presenting themselves and their
work. With Instagram I feel like Im getting to see a
more true version of a photographer.
I do also keep a Pinterest board of photographers, which
is like my visual rolodex. So when Im looking for someone new and fits the aesthetic, I check the board.

facebook.com/Cut
twitter.com/TheCut
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When youre looking to hire, what do you want in a

photographer?
I like people who are professional, who turn their contract in on time, and who take direction. They also have
to have a strong eye.
The ability to meet a deadline is number one, however.
When you're working in digital and something is half
an hour late, its really late. Its old news.
Another really important thing, which seems very obvious,
is picking up the phone. If I find a story that needs to be
covered in two hours and a photographer doesnt pick up
the phone then Im going to call someone else. This is not
dating, this is digital photography. You cant play hard to get.
I really appreciate people who are flexible. No one likes to
work with divas. And I dont respond well to people who
dictate how a layout should look, or who refuse to shoot
certain things because they dont think theyre good enough.
Photographers tend to forget that though they have a
creative vision, they are being commissioned to do a job.
So if I send them out to do street-style photography
and they tell me that the people arent chic enough, well,
thats not their call. I dont like it when photographers
make editorial decisions for me.
Its important to be friendly. Photographers should understand that sometimes there are changes in editorial
and not to get angry.

I like people who are professional, who turn their

contract in on time, and who take direction. They
also have to have a strong eye.
an important person to photograph. Or what the it
shoe is. If youre a photojournalist, youre not going to
be embedded in a warzone if you dont know what conflict is taking place.

events, they operate in that world. They understand the

content and so can deliver something intelligent for the
audience that is consuming the product.

Also a demonstrated fashion awareness is important. You

dont have to know everyone or namedrop constantly. Im
not impressed by someone who says they know everybody. It helps, but its not required. I like to see a demonstrated interest in and knowledge of the fashion world.

How do you choose photographers to work with on New

York Fashion Week, for example?

Often people get into fashion because they think its

glamorous and they can date models, but when theres
a genuine interest in fashion as an art form, and a photographer has a knowledge of that universe, the work is
much stronger. Many people see the fashion world from
the outside as just a lot of snobbery, but theres a rich
history there. An informed perspective does come across.
What sets the successful, professional fashion photographers apart?

Is a photographers knowledge of the fashion industry

important to you?

They have a defined brand. Fashion is such a particularly

creative enterprisenot to say that other genres of photography arentbut fashion isnt reportage, you have to
create or imagine an entire situation from the ground up.

I need to know that if I send a photographer to cover

fashion week they know that Diane von Furstenberg is

Also, the seasoned fashion photographers tend to put in

the work of schmoozing. They go to fashion parties and

For a large event like New York Fashion Week we need

someone who is very professional and who has a bit of a
track record, because we invest so heavily in it. This year we
worked with Landon Nordeman, a PhotoShelter member,
for a few reasons. Hes very professional and I had seen his
work around (Id seen him in The New Yorker). And fashion
week is grueling for the photographers. They dont sleep.
None of us do. Its eight days long, and photographers are
on their feet for 14 hours every day. Then they go home,
edit, and get up at 7:00 a.m. to go out and do it all over
again, on only two hours of sleep.
I need to know that someone is capable of that, who has the
stamina, can be aggressive, and will work their butt off. Its
not luxurious work, its a challenging and chaotic environment. In fact, thats why weve hired a lot of war photographers to cover fashion week (Alex Majoli, for example).

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I also want someone who is going to bring something

visually unique. Its really easy to see a runway picture
from Fashion Week, theyre on the internet immediately
or in real time. People have already seen the clothes. They
need something more from these essays to be interested
in them. It has to be about the photography, too.
We also always look for people who have fashion
knowledge, have a sense of humor, and can make some
arresting, surreal photographs even among that insanity. We want photographers who will come back with
something to say. I want insight, not just a record of who
was there. I want to see how people were interacting.
What kind of assignments are you more likely to hire
new photographers for?
Fashion week requires someone seasoned, but with
street or party photography Im willing to take a chance.
Street photography is an established style at this point,
it has a look. Its more about the content than the photography, the most important thing is that the photographer have good taste in clothes.
A good way to get a foot in the door is with web. Budgets are bigger with print and its not coming out as frequently, so they cant take as many risks. Which makes
web a great way to start.

I have picked up specs before, too. And Im very open

to pitches. If someone has access to something and they
are prepared to do the legwork I might take a chance
and tell someone to send me what they get from a project. If the work is strong I really dont care how old or
experienced someone is. I think its really exciting to
find someone new.
How do you choose new photographers to work with?
There are a number of factors. The photography comes
first, but a large concern for me is whether someones
photos will work well on digital. We do have six pages in
the magazine, but for the past two years Ive been working almost exclusively in digital. A significant amount
of our traffic comes from mobile, which means I have
to be looking for images that will look good on small,
two-inch-by-two inch, digital screens.
Whats the best way for photographers to get in touch
with you?
I get a lot of mailings but unless one image in the mailer speaks to me Im probably not going to go look at the
photographers website. I dont get a lot of emails, and
email is the best way to reach me.

I want to know where a photographer is located,

how to reach them, and what their work is going
to look like.

Today, people arent reaching out in the best way, in my

opinion. For example, I really dont like it when people
reach out to me via Facebook, thats crossing a line
for me. Recently I was selling a coffee table on Craigslist and a photographer pretended to want to buy it
in order to get my personal email address. Thats just
inappropriate. If that person had sent me a portfolio I
would have been happy to review it.
I do love to meet with photographers, but Im often
just too busy. Im the photo editor of a site thats doing
30 posts a day. And almost every one of the photos in
those posts goes through me. I dont physically have the
time to meet people. I dont like it when people cold call
or show up at the office.
So if someone emails you directly, what is it that you
hope to see?
I want to know where a photographer is located, how to
reach them, and what their work is going to look like.
So a quick introductory sentence: hello, my name is...,
I live in (city), my work is about... (specialties, for example still lifes, etc.), and then I want to see a couple
of images. Im looking to get a taste of their style. I like
to see consistency, thats the most important thing. And
then I want a link to their portfolio. Thats perfect.
A lot of photographers get very hung up on having
books in a certain category. For example they think
they can only be a sports photographer or only an editorial photographer or only a fashion photographer. For
me, I want to see consistency, yes, but not necessarily
in a category or type of photography. Its all about the
style of the images. I want to be able to visualize the
images Im going to pay for.

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What do you want to see in a photographers portfolio?

Saturated color. I love black and white photography,
but its not ideal for this space or our editorial in general. Its also very important that their website say where
they live.
I recommend to most photographers that they show
they can work in digital if they generally work in film.
We have a really tight turnaround time, so if a photographer can only work in film Im probably going to look
for somebody else.
In terms of the aesthetic, Im looking for work that is
big, bold, and obvious. It sounds silly, but bright and
shiny, candy-colored, large shapes, things that can be
seen from really far away. Thats whats going to translate on a small scale. We will bump up the contrast on
pretty much anything that goes on the web. We dont
want subtlety. Im a fan of subtle photography, but
thats not what works in this space.
Im also looking for a sense of humor. We look for people who are quirky.
General advice for those looking to break in?
Dont be afraid to make personal work and establish
your art. No one is going to give you a chance until you
can prove you can do it.

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PART II: PROFILES

Harnessing the
Local Market
Featuring Nicolle Clemetson

icolle Clemetson is a Portland, Oregon based advertising and editorial photographer. Though shes only been in Portland for four years, Nicolle has
built connections with both local and national publications, agencies, and businesses that now comprise the bulk of her clientele.
Nicolles portrait subjects varyfrom top chefs and
celebrities to comedians and models. But regardless of
who shes working with, she prides herself on bringing a
great energy to the set.
After a shoot, says Nicolle, I have cast, crew, and clients approach me to say how fun it was to work together, and how grateful they are for the positive energy
on set. As a local portrait photographer, says Nicolle,
building relationships is the key to a great business.
How have you learned to create an atmosphere that
portrait subjects and crew love enough to thank you for?

nicolleclemetsonphoto.com

Im pretty easygoing and pride myself on the rapport

I build with my subjects. Putting people at ease and
allowing their true personality to come out in the
photographs, whether they are veterans in front of a
camera or are having their photo professionally taken
for the first time. Most of the time Im cracking jokes,
making fun of myself, or asking strange questions to
elicit all sorts of expressions and feelings from the
talent. Lets just say theres a lot of laughter and highfives on set.

How do you price your work, and how does the editorial differ from the commercial fees?
Theres really two main ways I price my work and time.
It all depends on the type of client. For instance, 95
percent of the editorial work that comes my way has
flat-rate fee.This rate depends on the scope of the
assignment. A full-page portrait, a fashion feature
(three-plus spreads), cover shot, etc., these gigs range
anywhere from $500-$4000, all inclusive. And this is
not a day-rate. Granted, most of these projects only
take a couple hours to a full day to shoot. Sometimes
theres room for negotiating, but that can be rare.
The advertising projects are much more involved, as
this requires estimating, heavy production, casting, and
post-production. And chances are Im not the only
photographer bidding for it. Normally I will put together two bids: an unlimited or perpetual estimate,
and a smaller, two to three year bid. I find a lot of
clients dont necessarily understand the type of usage
theyre requesting, so I like to show them the pricing
difference between a tighter more defined license, and
a very broad one. Usually the main difference between
the two is going to be the Creative/Licensing Fee(s)
whereas production costs will ideally remain the same.

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I do all my estimating through Blinkbid, and will use their Bid Consultant as a reference point for where my fees should be for a particular type of license. From there
its really just a matter of trusting my gut and trying to decide what feels fair/good in
terms of the photography budget and scope of work.

III
How do you market your portraiture and bring in new clients?
I spent plenty of precious time and money in the past doing what I was told to do by
the industry blogs and consultants. None of it seemed to be working, so I decided to
take a more hands-on approach. Over the last four years, my focus has been on a very
select group of photo editors and art directors at national magazines, with an emphasis
on the local market in Portland, Oregon. We have so many ad agencies and design
firms here, not to mention Portland houses the world headquarters for the likes of
Nike, Adidas, and Columbia, to name a few. Three to four times a year I sit down to
figure out what clients I want to work with and how my style can be a match for their
brand. While doing my research, I check to see who the proper people are to contact
within a company (art buyers, art directors, photo editors), and once I know those
things, I simply send off personal emails introducing myself and my work.
If its a local client then I might ask about setting up a quick, in-person meeting to
show my book (and to show off my personality). Everyone Ive approached has been
very open to this; they love meeting local photographers. I also always follow-up from
meetings with either a hand-written or email thank you note. I prefer the more organic
nature of word-of-mouth and personal relationships turning into business. Personal
referrals in this city have netted me more work than any of my previous marketing efforts in the past. As a portrait photographer my prospective clients could be anyone
ad agencies, local business, inhouse clients, restaurants, entrepreneurs, you-name-it. So
I like to keep things open to any opportunities that feel like a good fit.
How do you use social media to promote your portrait business?
My Instagram and blog are mainly for fun and keeping my brand fresh in peoples
minds. Art buyers who follow my Instagram for example, can get an idea of who I am
as a person, not just as a photographer. Developing relationships is just as important if
not more so than being a strong photographer.
Photo by Nicolle Clemetson

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Photo by Nicolle Clemetson

Always follow-up from meetings with

either a hand-written or email thank
you note.

Photo by Nicolle Clemetson

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PROFILE

Capturing Big
Personalities

ason Myers is a portrait and sports photographer based in Nashville, Tennessee. Jason has been a full-time photographer for just over three and a half
yearsand his career has been anything but a slow build. His work has appeared in
PDNs The Shot, hes photographed Emeril Lagasse, Mariano Rivera, and his cli-

Featuring Jason Myers

ents include Sports Illustrated as well as Garden & Gun. Dream clients and subjects
already in front of him, Jason has had to become an expert in getting big personalities to open up, which requires a light touch and a very efficient workflow.
Heres what Jason told us how he preps for a shoot, what
he researches before he arrives on site, and the savvy
business and marketing choices hes made along the way.
How do you get subjects to open up to you, especially
when theyre big names?

Photo by Hollis Bennett

jasonmyersphoto.com

The best thing you can do when photographing people is, regardless of who they are, find a commonality
between each of you. It reassures someone that youre
not just a guy with a camera trying to make them look
goofy, that actually you have someones best interest in
mind. And most photographers dothey are trying to
get a real moment from somebody. Celebrities and entertainers are reluctant about having photographs taken
because theyre afraid of how they will be represented.
For myself, having played sports through college, having
been in the corporate world and going through leadership programs, generally theres some commonality I

can find with most folks. I focus on something familiar

and it allows a wall to come down a little quicker than
it normally would. With athletes, for example, I can say
that Ive played football at the University of Florida.
That starts a conversation.
But you dont (and probably shouldnt) come out of the
gate telling someone youre a huge fan. I think subjects
appreciate that youre not overly excited, especially celebrities and athletes. Youre just there doing a job and
to make their experience easy and enjoyable.
What should photographers know about working with
people who have very little time?
Understand that someones time is valuable. Its just
as important as finding some commonality and doing
homework on your subject.

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Photo by Jason Myers

For example, I have a photo of Emeril Lagasse holding a giant fork. I got to take two
frames with him. That was a long day, he was busy, he was tired and he was on his third
location of the day. By the time I saw him I literally had 15 seconds. He walked into the
room where I was set upI had a seamless and some lightsand he looked at me and
told me he wasnt sure he had the energy. I told him I understood and then I asked him if
hed mind holding a four foot fork. He gave me a look like, ok lets do this.
I took that chance, I got one picture of him holding the fork and the second was him
walking out of the frame. I was lucky that I got one shot. And no knocks on him, he was
tired, which is often a real factor you need to consider and learn how to work around.
Celebrities and athletes have a thousand people pulling at them in different directionsmanagers, publicists, an entouragethey have bigger things going on in their
world than letting a photographer snap photos.
As another example, I photographed Mariano Rivera, who plays for the New York Yankees, for the ad agency Doner in Detroit and their client JBL headphones. We had a
white seamless backdrop and one light set up as a safety net to get nice clean shots in case

Photo by Jason Myers

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he wasnt able to give us as much time as we wanted, and then we had the art directors
concept set up and ready to go so that we could just go from one location to the next.
You have to have your concept in mind and have everything dialed in. Preparing can
take weeks or months. This shoot happened very fast, we only had about a week. We
had to figure out a way to get the concept the client wanted by doing a test day and a
scout day. I was very fortunate that we could do that.
My goal was to have everything set up so that it was as as easy and smooth as possible
for Rivera, who was just finishing up with the first week of spring training. The first
thing I did on the shoot was to tell him that I understood how he felttired and ready
to get it all over with so he could go have supper. And I told him wed get it over with
damn quick. He chuckled and I think that broke down a wall. He knew that I didnt
want to keep him there any longer than he wanted to be there.
He gave us a solid 45 minutes and took pictures with the crew and all the extras.
He was fantastic. But it could have been 10 minutes, or five minutes; 15 seconds or
literally two frames. You have to prepare for that. And you have to appreciate that
people are giving you their time; even though it might be a job, they still have to
agree to be there.
What kind of research do you do before you meet subjects?
If Im going to meet a potential client I look them up on LinkedIn the night before and
see if we have any friends in common.
When Emeril came to town I was doing some digging on him; I have ten of his
books and I knew about him. But I was trying to figure out how to get something
different than him yelling bam! at the camera (Emerils famous catchphrase). Then
I read somewhere that he almost went to music school before making the decision
to go to culinary school, and that he still played the drums. So I thought that as
a gesture Id buy him some nice drum sticks to breakdown the walls. In the end I
honestly think thats why I even got those two frames, because I had presented him
with that gesture for taking the time out to accommodate me. He started telling the
story about doing music. But that opened the door, that little bit of research helped
me take a step into his world for a second.

You have to appreciate that people are

giving you their time; even though it
might be a job, they still have to agree
to be there.
Any lighting tips and tricks?
I think that when youre so obsessed with lighting and gear it takes away from your
creative process. I am a techie, a total gear guyI have a real problem with gear acquisition syndrome. But the more I shoot the more I realize that with fewer options you
have the more creative you get. If you have ten lights then youre going to try to set
up with ten. If youve only got one youre going to make it happen with that one light.
As far as my style of lighting, I generally only use one or two lights. For portraits I
always bring a couple of Elinchrom Quadra. Theyre small and light but they give me
four hundred watt seconds of power so I can pretty much make a studio environment
out of anything. Even if its just me with my arms outstretched, one light and no assistant, I can do that. Ive done it a number of times.
I try to stay as self-sufficient as possible. Remember that you can bill your equipment
expenses back to the client. Its the industry standard, because a client isnt not paying for the type of camera or lights you have, theyre paying for your creativity, vision
and results.
How did you build your business from the ground up in just over two years?
I got my first PhotoShelter website around 2009. I was starting to shoot a little bit; I was in
the golf business so I had access to interesting places and people. Fast forward to a couple
of years, I was just unfulfilled in the corporate world. I was a man without direction. So I
called Agency Access. I hired a consultant, Amanda Sosa Stone, and she told me what to
get rid of in my portfolio, and I listened to her, and so far its worked. She also told me it was
time to redo my website. It was just a big jumbled mess with all kinds of things on there. So

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she helped me narrow it down and I realized that I was more of a portrait photographer
thats what I enjoyed. She gave me a directive to take 10 portraits in the next 2 months. I
shot about 50 in two weeks. I was literally grabbing people off the street, grabbing friends
of friends of friends, showing up at concerts, telling people what I was doing and most
people were up for it. I created a portfolio in about two weeks. Since Amandas promotion,
Ive been working with Jennifer Perlmutter of Agency Access, which has been great.
What kind of marketing do you do?
Ive been using Campaign Manager Pro from Agency Access, which provides me
with quality consulting time from a range of experts, and Ive gotten some jobs directly out of it.
Ive put just about every dollar Ive made back into my marketing. Ive invested in Agency
Access, which is my email blast and a database as well as direct mail, too. They will also do
calls for me and try to get me appointments, because I just dont have time to do it anymore.
When I relocated to Nashville from Palm Beach Florida in 2014, I created an interactive promo kit Fresh From Florida, which got attention from not only editors, but
PDN and other photography news sites.
Im also a part of Wonderful Machine, which happened after my feature in PDN. I want
everyone to know who the heck I am. It gives people confidence to hire you. And if people dont know who you are theyre never going to give you a chance to work with them.
How were you able to gain access to the people youve photographed in such a short time?
Going from zero to where I am now in just over two and a half years, I give a lot of credit
to PhotoShelter and also to my consultant Amanda Sosa stone. PhotoShelter provided
the platform and I then I had to go produce the results. That meant not being afraid to
knock on a door. It meant not being afraid to ask to photograph someone for my portfolio.
Ive been very fortunate that most of my subjects have been been connected to me
somehow by six degrees of separation. The people in my portfolio are either a friend of
a friend, or I reached out to somebodys music label or asked somebody I know or that
I have photographed before to reach out. Thats been been helpful. The more recognizable people in my portfolio came that way. Your network is vital.

Photo by Jason Myers

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PART III

Conclusion

ven though editorial photography may not

be the most lucrative side of the photography business, it can be exciting and rewarding work. Competition is tight, but a new photographer
with the technical skills, a unique point of view and a
willingness to work with an editor to create great visuals
has everything it takes to succeed. If youre intimidated
about breaking into this world, take heart in the fact that
photo editors are always looking for new talent. Once
you land that first job, keep your photo editor happy by
delivering the assignment, and then some, with a great
attitude, and youll be on your way to an exciting career.

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