If you missed the panel discussion “Your Picture Here: How to Get Published in The New York Times, Time, GQ and Wired,” at PDN‘s PhotoPlus Expo, make your way over to pdnpulse.com for PDN managing editor Meghan Ahearn‘s summary. The panelists—photo editors from the above magazines—shared their thoughts on the kinds of promos they like to receive, the value of personal work, and even whether they prefer to see a tearsheet of a published piece or just the image.
Here’s an excerpt:
Almost all of the panelists preferred printed promos to mass e-mails or cold calling. Paul Moakley of Time compared the promo process to courting: Only after a few introductory mailers is it OK to call or e-mail him to request a meeting. [Krista] Prestek [of GQ] noted that since her first priority is the magazine, hard copy promos are better because they let her see what the work looks like on the printed page. She also suggested photographers pick an image that is in line with the magazine to use on their promo. [Carrie] Levy [of Wired] doesn’t mind e-mails, but noted a few things photographers shouldn’t do: send e-mails first thing in the morning (when she has the most e-mails in her inbox); compose mass e-mails instead of personalized ones; and embed images in the body of the e-mails because they don’t show up. Finally, The New York Times Magazine’s Clinton Cargill noted that sometimes years go by between the first time he first sees a photographer’s work and when he gives the photographer an assignment, so it’s always good to keep the photo editor up to date via mail or e-mail in terms of what you’ve been working on.
Read more here.