Where is editorial photography being used and how how is this work commissioned; and what range of photographic work is being undertaken by photographers in fore filling editorial assignments ?
Firstly Editorial photography is being used almost everywhere. From news papers to online articles , leaflets being posted though your doors , billboards even the back of cigarette packets. There are nine main areas of editorial photography that can be explored.
Magazines
Public Relations
Corporate Work
National Newspapers
Regional Newspapers
Videography
Broadcasting
Books
Online publications
There are two ways in which to approach Editorial Photography either commission or stock photography. Maybe both.
Definition of Commissioned Photography
Definition of Stock Photography
Stock photography is the supply of photographs licensed for specific uses. It is used to fulfil the needs of creative assignments instead of hiring a photographer, often for a lower cost. Today, stock images can be presented in search able online databases. They can be purchased and delivered online. Often, these photographs involve people, and are produced in studios using a wide variety of models posing as professionals, stereotypes, expressing common emotions and gesticulations, or involving pets. Other common stock photography niches include images related to travel and tourism, as well as conceptual photography
How much is enough ?
We have been leaning all about the value of our time and also our out goings as free lance editorial photographers so you need to charge enough to make a living. Being a photographer there are specialist skills you have that other people are happy to pay you for. I wanted to know genuine prices to charge for different commissioned work. Below i will be adding the prices that i have found online. Doing this research has in fact been extremely helpful to me as before i hadn't the foggiest what to charge. I am well aware though that i am not a fully qualified photographer yet and being a student there should be a significant price cut. Getting a good name for good quality for money is also very important. Londonfreelance.org. I will be looking and compairing the recommended pricing for 3 Major parts of editorial photography. Magazine, National Newspapers and Public relations . I will also be compairing the commission prices to the stock photo prices.
Magazine commision price list
Category A. Large circulation and glossy mags
| Day rate - bigger-budget or demanding clients |  | 800.00 |
| Day rate - at least | | 500.00 |
| Half-day rate | | 300.00 |
Category B. Smaller consumer mag
| Day rate | | 350.00 |
| Half-day rate | | 200.00 |
Category C-D. trade and cheap Specialist mags
| Day rate | | 300.00 |
| Half-day rate | | 175.00 |
Now to compair those prices to the ones of the stock market for magazine commission
| Magazines category: A: large-circulation and glossy mags | ||
|---|---|---|
| Cover | | 480.00 |
| Double-page spread | | 420.00 |
| Full page | | 295.00 |
| 1/2 page | | 140.00 |
| 1/4 page | | 95.00 |
| 1/8 page | | 80.00 |
| Magazines category: B: smaller consumer mags | ||
|---|---|---|
| Cover | | 325.00 |
| Double-page spread | | 295.00 |
| Full page | | 210.00 |
| 1/2 page | | 120.00 |
| 1/4 page | | 85.00 |
| 1/8 page | | 75.00 |
| Magazines category: C-D: trade and cheap specialist mags | ||
|---|---|---|
| Cover | | 250.00 |
| Double-page spread | | 235.00 |
| Full page | | 180.00 |
| 1/2 page | | 100.00 |
| 1/4 page | | 70.00 |
| 1/8 page | | 60.00 |
I actually find it really interesting that the stock magazine commission are half the price of the time. This has given me food for thought in the fact that maybe the stock market could be a good constant money earner if your pictures are chosen. You are getting paid for a picture you could have taken a year ago. Easy money?
National Newspapers recomended Price lists.
Newspapers do not pay commission rates that correspond to a professional income : the following market rates are for information only and not recommended . The NUJ does not recommend that any photographer work for less than £250 per day.
Some papers pay these rates for a commission, some for a whole day shift; some will pay two commissions in a day. Many cap wiring fees at around £50. Some papers pay as little as £150 - and we are told of the Sunday Mirror paying £320.
Commissions price list
| Guardian agreed rate: per day | | 267.68 |
| Better-paying - eg Telegraph commission | | 250.00 |
| Commission | | 200.00 |
Stock Price list
| Reproduction fees for stock pictures are much closer to the rest of the publishing market than commission fees. The figures below are for "qualities" only. Tabloids/popular/red-top titles can pay double. | ||
| 1-5 sq ins | | 65.00 |
| 10 sq ins or 1/32 page | | 70.00 |
| 11-20 sq ins or 1/16 page | | 80.00 |
| 21-42 sq ins or 1/8 page | | 100.00 |
| 43-85 sq ins or 1/4 page | | 160.00 |
| 86-170 sq ins or 1/2 page | | 210.00 |
| The figures below are for "qualities" only. Tabloids or "red-top" titles can pay double, or more. | ||
| 1-4 sq ins or 1/32 page | | 65.00 |
| 5-11 sq ins or 1/16 page | | 80.00 |
| 12-22 sq ins or 1/8 page | | 100.00 |
| 23-44 sq ins or 1/4 page | | 160.00 |
| 45-90 sq ins or 1/2 page | | 210.00 |
Public Relations Photographs
he high/low budget categories are for guidance only. The most important point is that they do not divide between profit and non-profit making organisations. Charities can have high budgets, and commercial organisations low budgets
he high/low budget categories are for guidance only. The most important point is that they do not divide between profit and non-profit making organisations. Charities can have high budgets, and commercial organisations low budgets
| RATES: Commissions: extended use Public relations category: High budget | ||
|---|---|---|
| There are very few jobs - especially, perhaps, in Public Relations - that really take only half a day. See Advice: day rates. | ||
| Day rate | | 830.00 |
| Half-day rate | | 430.00 |
| RATES: Commissions: extended use Public relations category: Low budget | ||
|---|---|---|
| Day rate | | 430.00 |
| Half-day rate | | 275.00 |
| RATES: Commissions: single or limited use Public relations category: High budget | ||
|---|---|---|
| Day rate | | 480.00 |
| Half-day rate | | 270.00 |
| RATES: Commissions: single or limited use Public relations category: Low budget | ||
|---|---|---|
| Day rate | | 310.00 |
| Half-day rate | | 200.00 |
| RATES: Stock pictures: Brochures, reports etc Public relations category: High budget | ||
|---|---|---|
| Cover | | 550.00 |
| Double-page spread | | 500.00 |
| Full page | | 350.00 |
| 3/4 page | | 300.00 |
| 1/2 page | | 260.00 |
| 1/4 page | | 220.00 |
| 1/8 page | | 200.00 |
| RATES: Stock pictures: Brochures, reports etc Public relations category: Low budget | ||
|---|---|---|
| Cover | | 350.00 |
| Double-page spread | | 300.00 |
| Full page | | 200.00 |
| 3/4 page | | 170.00 |
| 1/2 page | | 150.00 |
| 1/4 page | | 130.00 |
| 1/8 page | | 120.00 |
| RATES: Stock pictures: In-house magazine Public relations category: High budget | ||
|---|---|---|
| Cover | | 480.00 |
| Double-page spread | | 420.00 |
| Full page | | 295.00 |
| 3/4 page | | 230.00 |
| 1/2 page | | 140.00 |
| 1/4 page | | 95.00 |
| 1/8 page | | 80.00 |
| RATES: Stock pictures: In-house magazine Public relations category: Low budget | ||
|---|---|---|
| Cover | | 280.00 |
| Double-page spread | | 235.00 |
| Full page | | 180.00 |
| 3/4 page | | 150.00 |
| 1/2 page | | 100.00 |
| 1/4 page | | 70.00 |
| 1/8 page | | 60.00 |
| RATES: Stock pictures: Public information leaflets Public relations category: High budget | ||
|---|---|---|
| Cover | | 400.00 |
| Double-page spread | | 375.00 |
| Full page | | 260.00 |
| 3/4 page | | 225.00 |
| 1/2 page | | 195.00 |
| 1/4 page | | 165.00 |
| 1/8 page | | 150.00 |
| RATES: Stock pictures: Public information leaflets Public relations category: Low budget | ||
|---|---|---|
| Cover | | 260.00 |
| Double-page spread | | 225.00 |
| Full page | | 150.00 |
| 3/4 page | | 125.00 |
| 1/2 page | | 110.00 |
| 1/4 page | | 100.00 |
| 1/8 page | | 90.00 |
Copyrights and Photographic agreements
Whilst researching the technicalities of editorial photography i thought it important to look briefly into copyrighting my photography. I have looked at an online report published by Simpson Solicitors Sydney. I have added the link below of the laws on copyrighting.
defiantly worth checking out.
http://www.simpsons.com.au/wp-content/uploads/chapter-12-photography.pdf
Section 6. About commissioned photography is wordy but on un picking very useful to grasp. Here is a standard Photographic commissions agreement form highly suggested by the solicitors on agreeing to partake in commissioned photography of any sort.
PHOTOGRAPHIC COMMISSION AGREEMENT
THIS AGREEMENT is made the ............ day of ............ 19...... between
Name ......
Address ......
Telephone ...... (the Photographer)
and
Name ......
Address ......
Telephone ...... (the Commissioner)
by which we agree as follows:
1. Commission. The Photographer agrees to complete on or before the ...... day of ...... 19...... the following
photographic work (the Work): ......
.....(Description of the Work including number, size and type of prints.)
Provided that the time of completion shall be extended in the event of delays caused by force majeure,
injury or illness to the Photographer, delays caused by the Commissioner or any cause or condition that is
substantially beyond the power of the Photographer to control or avoid.
2. Payment. The Commissioner shall pay to the Photographer the sum of $.......... as follows: ......
......(Specify the manner in which payment is to be made e.g. by instalments prior to delivery or in full upon
delivery.)
3. Acceptance. It is understood that the Photographer will use his/her aesthetic skill and judgment to create
the Work, and the Commissioner agrees to accept the completed Work unless he/she can show that the
Work was not executed substantially in accordance with the description contained in clause 1 of this
agreement.
4. Copyright.
*(a) The Photographer shall be the owner of copyright in the Work.
[But shall not use the Work for any of the following purposes without the consent of the Commissioner
......]*
The Commissioner may use the Work for the following purpose(s):
......*(b) Upon payment in full to the Photographer the Commissioner shall be the owner of copyright in the
Work but shall use the Work only for the following purpose(s): ......
5. Ownership of Negatives. The Photographer/Commissioner* shall be the owner of all photographic
negatives for the Work.
Signed: ......
Signed: (the Photographer)
Signed: ......
Signed: (the Commissioner)
So how do you find editorial clients ?
So , How do you find editorial clients ?
Robert Hooman: My main goal is to get a one-on-one portfolio review with the editors and continue keeping in touch with them. So I’m really always approaching the client from a personal standpoint. I want to get to know them and create lasting bonds.
Chris Goodney: I started the old-fashioned way, finding the names of editors and art directors in the mastheads of magazines. At one point I had access to ADBASE and made good use of it as well. Other than that, word of mouth was my best seller. I met a good number of people in the two years I was assisting Arnold Newman so I just hit the pavement and started showing my book around. I started with one client and built on that. I think establishing a good relationship with your editor is a priceless thing. It really does come down to who you know and how good your work is, plain and simple.
William Anthony: This has markedly changed in just the past three years. In the past, it was not uncommon to get cold calls from editorial clients via enquiries from resources like ASMP’s “Find a Photographer.” This often seemed to be geographically motivated. If an East Coast publication was looking for a photographer in the Pacific Northwest, they would utilize these resources. In recent years, however, it really seems that referrals through social networking are taking precedence. Nowadays, building long-term relationships with art directors and photo editors may be the most successful and satisfying course.
Alison Wright: I took a risk by quitting my newspaper job in 1986 to follow my dream and take a three-week assignment shooting for UNICEF in Nepal. Once I arrived in the country I felt I’d come home and I didn’t leave for more than four years. UNICEF created a major project for me, photographing children’s issues around the country, and I made a living for years shooting for various aid and humanitarian organizations. I was earning a living and shooting what I felt was meaningful work—to help children and their communities. In fact, this work inspired my book Faces of Hope and a foundation of the same name,
Eric Millette: After photography school and then assisting for several years, I started shooting editorial photography back in 1991. Pounding the pavement in New York City was the tried and true path to getting work and I visited there often to meet face to face with photo editors. Eventually the client list grew and after about five years I felt like I was going to make it. Even though it seems like that is still a good method, it is harder to get those appointments and we have so many more options with the Internet.
Richard Morgenstein: I actually found it more and more difficult to find editorial clients. I used to look at magazines in bookstores to see what might be an appropriate fit, or at least a dream client. But I have found that it is just part of the research that is needed today. First of all, so many of the newsstand magazines are also seen by everyone else, and they often have the glamour factor that makes them magnets for photographers looking to promote. And with the consolidation in the magazine industry and dwindling budgets, these magazines tend to demand the most rights, often for the least amount of money
Finding editorial contact details
Before reading the information above i had never really even thought about how to contact editorial photography clients. So they make it sound easy i though id conduct an experiment seeing how easy it actually is. Above Chris Gooney talks about contact the editorial side of the magazine through its master head . Im going to be completely honest is saying i had no idea that magazines had a master head never mind what is was. Iv never noticed the small print in magazines before its far to easy to get distracted by imagery and articles. I have opened my Marie Claire Fashion magazine Skipped the full page advertisements and there is was as simple as day. The page heading reads Marie Claire Blue Fin Building, 110 southwark Street, London SELOUS and next to it Editorial 02031487481 email Inbox@marieclaire.co.uk. well that was easy ! i wonder how easy it is to find others.
I have used Nme magazine for reaserch in stage 2 of this project i wondered how easy it would be to contact them, I typed into google search Contact Nme Magazine editorial and the results were quick and clear.
Editorial Contacts:
(Call 020 3148 + ext)- EditorMike Williams
- Editor's PA Karen Walter (ext 6864) karen_walter@ipcmedia.com
- Assistant Editor Hamish MacBain (ext 6894) hamish_macbain@ipcmedia.com
- Features Editor Jamie Fullerton (ext 6871) jamie_fullerton@ipcmedia.com
- Reviews Editor Tom Howard (ext 6866) tom_howard@ipcmedia.com
- Assistant Reviews Editor Sian Rowe (ext 6860) sian_rowe@freelance.ipcmedia.com
- News Editor Dan Stubbs (ext 6858) dan_stubbs@ipcmedia.com
- Deputy News Editor Jenny Stevens (ext 6863) jenny_stevens@freelance.ipcmedia.com
- News Reporter David Renshaw (ext 6877) david_renshaw@freelance.ipcmedia.com
- New Music Editor Matt Wilkinson (ext 6856) matt_wilkinson@ipcmedia.com
NME.COM
- Deputy Editor Lucy Jones (ext 6867) lucy_jones@ipcmedia.com
- Assistant Editor Kevin EG Perry kevin_perry@ipcmedia.com
- Picture Desk Emily Barker nmepicdesk@ipcmedia.com
- Producer Jo Weakley (ext 6909) jo_weakley@ipcmedia.com
Advertising
- Digital Media Business Director Andrew Sanders (ext 6716)
- Commercial Dev Manager Neil McSteen (ext 6707)
- Ad Manager Chris Dicker (ext 6709)
- Display & Online Sales; Record Labels Adam Bulleid (ext 6704), Hollie-Anne Shelley (ext 6725)
- Sponsorship & Brand Solutions Jade Bousfield (ext 6706), Chris Dehaney (ext 6724), Rob Hunt (ext 6721)
- Insight Manager Verity Amos-Piggot (ext 6732)
- Classified Sales Manager Nicola Jago (ext 2608)
Publishing
- Senior Marketing Manager Ellie Miles (ext 6775)
- Marketing Assistant Charlotte Treadaway (ext 6772)
- Publisher Tracy Cheesman (ext 6833)
- Publishing Director Emily Hutchings
- PA to Publishing Director Hollie Bishop (ext 6848)
I wonder if its just as easy to contact one of the post popualr fashion magazines in the world? VOUGE.
I followed the same proseguer as with nme and typed it into goole search. I came up straight away but i have to say its not as usefull or pricise as NME magazine.
'To contact the editorial department, please email: vogue.com.editor@condenast.co.uk'
But one thing that did strike me on the vouge website was it part deadicated to applying for work experience. What i great way to get you name out there that to attempt to recieve a non paid work placement with a coumpany as huge as Vouge.
'WORK EXPERIENCE AT VOGUE MAGAZINE
To apply for work experience at VOGUE magazine, please send your covering letter, with a CV, to: vogue-editorial@condenast.co.uk
Applications by post should be sent to VOGUE, Vogue House, Hanover Square, London, W1S 1JU.
PLEASE NOTE THAT WE CAN ONLY ACCEPT WORK EXPERIENCE APPLICANTS OF UNIVERSITY AGE OR ABOVE'
Asking for profession help
I have chosen to take it upon my self to email a number of different publications to ask how they deal with commissioning photographers and how they find photographers. I have sent out a generic email saying to three different editorial sections of different companies
Hello,
My name is Sally Jenkins and I’m a photography student currently studying at Salford University. I am in the middle of a project surrounding Editorial Photography. I was just wondering if you had the time to tell me about how you commission photographers in your publication and also how you find photographers for your edit
Your time would be much appreciated
Thank you very much
Sally Jenkins
I first emailed The Visitor . A regional newspaper from my home town of morecambe to see how lower budget newspapers handle the above questions.
Secondly i emailed Marie Claire a national fashion higher budget magazine to compair how the higher and lower end industry's deal with the question above
And thirdly i have emailed the same question to look magazine . A national 'gossip' magazine which i feel would use more stock imagery than commissioned work.
I am highly disappointed to say that i have received no replies up to date but if and when they do reply the information is still of value to me and i am looking forward to seeing how all three different publications handle commissioning and hiring.
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