Magazine Submission Q&A
we're gonna go for Q and A Yes. How do you determine whether or not you're going to be submitting it to a blawg or to print? That's really difficult. Really, really, really difficult, because there are weddings that I feel like, uh, like signature, or like I mean it really? For me, because, okay, so in 2000 in over in 4009 when my first print publication happened, there were almost twice as many wedding magazines. But now that the digital age has occurred, it has literally cannibalized what print publication looks like. There are so few magazines left on the market that has become so extraordinarily competitive. And do I think that editors look favorably on people who advertise in their magazine? Yeah, especially given the economic climate that it is. If they're choosing between a photographer who has a very nice wedding and advertises and I, you know, submit a wedding and they might like it and I don't advertise and they like him just as much. They're gonna go with those who advertis...
e. It's just that simple. I understand that. That's the dynamic of the game. I'm not gonna be offended with it, so because it costs me quite a bit of money, Teoh take the time to submit to do all of this. I'm really submitting to print publications judiciously. Like, if I really, really feel like this wedding is like it Like the Unicorn I was in it for sure. Yeah, Mark, I just kind of going back to Ashley's question. If if you were at a reception that had, like, buffet style for the food, would you take food from their kind of make your own plate? And then No, no, no, because I'm not were not chefs, you know, we don't know how to style food. We're not food stylist, I think would kind of, you know, it wouldn't be the best representation of what you do. But that's good. That's good. I would do that and other aspects for probably not in food. It's hard, like stylized mashed potatoes, you know, question from the Internet from Cam Robinson photography for print. Just to clarify for print. You mail it in as opposed to emailing it in our submitting it online. Yes, correct. And then, on the dis a follow up question from somebody else on the disc. How what size images are you putting on the desk? Great question. So the main difference between print and online is that when you're sending them to print, they must be full rez. So in average, a safe sizes descend would be an eight by 10 at BP. But here's the thing those editors of well, crop ear photo, any which way you could be sending a, you know, at a four by six ratio. You know you don't want to send a four by six, but you you contend, like, whatever the ratio is like a by 12 at 300 dp I, um and they will crop it in a way that works best for their spread. So but I have one would generally heard from editors eight by 10 inch, 300 DP I work from our G. Peter 14. And could you again repeat how many images that you put on the disc around 125 150. But most the time that I've noticed with print editors is that the look at the disk and they actually request to see the gallery That's from been what my experience has been because they're looking for search and photo, and their aesthetic is very different than then a blog's editor because they are working with such less images that they need to tell a different story in between page after page after page so they don't want to have the same looking cake from the same looking perspective. And they don't have the same shoe shot from the same perspective. So sometimes we send what we think is best. But given that each page is a turn it every page is cherished and well fought out versus we're scrolling down two different pages. It's a little bit different. Yes, Britney, um, do you have tow? Include a release in your package that you sent to them? Or is that something that they can tell you? Which covers me for both online and print publication? Yes, people are wondering about timeline on submitting for print because print has different deadlines than a blawg. How much lead time do you need? Um, it depends. I really, really depends like what the editor is looking for, but I always think as close to the wedding, I always think that's better, because what happens is they're picking weddings like a season or two in advance. So those, you know, have you slated? So they're not gonna They're picking images for their December issue in, like February. So the closer s So if you're shooting wedding in February, you should probably be shooting. And you should probably be submitting around that time to give them plenty of time to feature that wedding a year and 1/2 the following season, the season the following year Because they do seasonal weddings. 70 cents like Okay, question from Ashley shyly photography. Do you get more future enquiries from brides finding you on blog's or in print blocks? Pinto. There is something to be said about the power of somebody looking at something and clicking and going immediately versus having a magazine dog earing it, going home, getting on the computer, going on the phone. It's like there's extra steps to finding that photographer. I have kind of come to a belief that, uh, blog's get me business and, uh, magazines get you credence notoriety a reputation so definitely there much harder. Teoh to get your work featured in Cool Michelle, if you know you're going to be submitting a wedding or bridal shower to a magazine. How do you handle the blogging differently and getting the gallery out to the clients and ensuring that there's that exclusivity to that wedding? Just to clarify? There are very few magazines that do bridal showers. I caught wind that inside weddings was going to do a small feature on bridal showers, so I think they do it once a year or once every other year. And it never hurt Teoh email an editor and find out like what they might be looking for and follow. Editors on Twitter fall with him on Facebook. The best Twitter, I think, is not Rebecca, the photo editor for the knot dot com. And for every issue of the not, she's phenomenal. She's so good at what she does, and she's always on Twitter looking for a tiger shaped wedding cake looking for a blue garter. And while you might not have an entire wedding to submit, you might have one of your photos featured in one of their full spreads because you have that one detail. One time she tweeted like I need a bomb and a daughter walking to the isle both of them wearing white. You know, it's like so it's really cool to follow the people that you want to know cause that will allow you providing information to what they need become genuinely interested in that. That's like the big advice. But question from images of this who is from joining us from Texas? It seems as though you are in the gray area between wedding and commercial photography. Have you sought out advice from commercial photographers? Um, I would actually take an issue. I don't think, um, if I was get, if I was having sailed shoot and I was having them featured in print, it may be more of a commercial style basis, but the sound shoots really aren't getting featured in magazines. Statutes are definitely more block driven. So, um no, I'm not consulting with a commercial photographer because I'm not really trying to become a commercial photographer because chase would be very chase. Jarvis would be so worried if I became a commercial for No, not at all. It's just not just not what I dio, and I need Teoh. What happens with photographers is you. There's this taste, very sweet fruit and so you taste that we taste the bottom hanging fruit, and all of a sudden we think, Oh, I want the whole treat. No, I know what I know my market. I know what I can do. I'm not trying to compete on that level because they have my work published. It is a privilege. It doesn't. It doesn't make me. It doesn't make me believe that I can compete in an entirely different market in a niche that's not my own cool. Okay, Wave will take maybe one more question before we break for lunch, if that's okay, if any order over again. And now it's illegal, just highlighted and it's gone. Um, that's why Buddhist out there. This I'm from pretty news. What is the hallmark difference between commercial and stylized shoots? Um, well, a commercial commercial shoot. You get paid and you're working with a commercial photographer and a commercial photographer. And please forgive me because all the if there are more photographers watching, they're probably gonna have my head. But I shouldn't know these things because I'm not a commercial photographer. But what I'm guessing is that a commercial photographer comes with an entire team, so they have somebody have a stylist. They have somebody who does production. They have. You know, they have an on site editor. I mean, they have so much going on for that particular shoot that me as just a photographer, I just show up and shoot something. I don't necessarily do old, like the pre planning for it. And then when you have a moment when you are a commercial photographer, you're working with the person who hired you. And so they have an opinion and what's going on for the shoot? I would happen to find that particularly stifling, you know, to have like an art director from, Let's just say hypothetically, I shot for Nike, right? And I'm just so excited cause I landed the Nike gig and I'm in Brazil and everybody's running and I'm like, Yeah, I love it. And then she's like, Oh, no, no, no angles all wrong. And I have an art director telling me how to take a photograph would be like, Oh my gosh. But there are commercial photographers who are just like Oh my God, if I had to deal with the bride running through a field, I would poke my eyes out, so we're all made differently, and that's totally fine. So I don't really know the differences between what a commercial photographer needs. But what I know is I'm a wedding photographer who provides content for bloggers and real life weddings for magazines. I do not get paid for that, but it is an honor and a privilege, and if I am in that gray area, I will waive a gray flag.