| One of the most accessible markets to freelance | | | | There will be subjects that you would be |
| photographers is the magazine or publishing | | | | interested in finding out about so research it and |
| market. With so many titles scattered across the | | | | present the images to the editor. Again, as I have |
| world you aren't limited to a single language | | | | said before, if you are able to write an |
| magazine. Most editors are looking for fresh new | | | | accompanying article you will increase your |
| styles of photos so you are always in with a | | | | chances of getting published. |
| chance if your images are really good quality. | | | | 5. Stick with quality |
| Many professionals have used magazines as their | | | | The market is exceptionally competitive which the |
| springboard to success so here is how to make it | | | | editors have a wide selection of images to choose |
| yours. | | | | from. Yours need to have the extra wow factor |
| 1. Your personal key to success | | | | to catch an editor's eye. So concentrate on |
| Understand the needs of your chosen market. If | | | | submitting only your best shots. Quality is |
| you've decided to submit your portfolio of vintage | | | | everything as the editor already has quantity. The |
| car images then you need to work out fast which | | | | more sub-standard you submit the more will be |
| ones are saleable. Know your area of expertise | | | | rejected. It's not a numbers game. |
| and which images you would potentially find in a | | | | 6. One chance to make a good first impression |
| vintage car magazine. If you have doubts, you | | | | You only get one chance to make the important |
| can be sure the editor will have too. So find out | | | | first impression with an editor so only submit your |
| what the market needs and supply the demand. | | | | very best images. If it means fewer images then |
| 2. Shoot within your area of expertise | | | | don't compromise and send any that aren't up to |
| Don't ever shoot images in an area that you | | | | scratch just to make up the numbers. It won't |
| know nothing about. This is a recipe for disaster. | | | | work and the editor will see through you |
| If you are a stamp collector or an interior | | | | immediately. If he doesn't have any use for them |
| designer then you know what works and what | | | | this time, if they are high quality you can be sure |
| doesn't. Magazines are very specific and editors | | | | that he will be looking out for you next. He may |
| don't just fill spaces with general images. If you | | | | even contact you and commission you to do |
| can write a good article to go with a series of | | | | similar images on a different theme. |
| images then you stand an even better chance of | | | | So here's a plan of action for you:a. Make a list of |
| inclusion. Think like an editor and then think like a | | | | magazines you read as potential buyers. b. Find |
| reader to see if you would find your images | | | | other potential magazines that fit into your areas |
| interesting. | | | | of expertise. c. Get their submission guidelines |
| 3. Understand the magazine guidelines | | | | from their website or email them. d. Look through |
| Every magazine has a series of guidelines for | | | | your existing images to see if any will suit them. |
| submissions, many of them can be found on the | | | | e. Create a shot list of images you could take to |
| publications website. If they aren't then drop an | | | | submit. f. Select magazines that you can submit |
| email to the editor requesting them. Guidelines are | | | | to and send off your images. |
| there for a reason so stick to them. Editors don't | | | | Don't be despondent when your images are |
| like it when people try to beat the system. If | | | | rejected or not used. If they are quality photos it |
| your images meet their guidelines then your | | | | could just be that you submitted them at a time |
| chances rise in getting them published and making | | | | when the editor had no need for them. Continue |
| money. | | | | to submit and be prepared for many more |
| 4. Start with magazines you know | | | | rejections. If you are prepared to wait it out you |
| This is similar to point two. Not only should you | | | | will get your foot in the door at some stage. |
| work in the area of your expertise but start with | | | | Remember that you are not going to get rich |
| magazine you already know or subscribe to. This | | | | quick but you will make a living and more |
| will give you an advantage because you know the | | | | importantly, make a name for yourself as a good |
| format, articles and the way the editor thinks. | | | | photographer. |