Test Your Photo IQ for Small-Space Glamour Work
R. Dodge Woodson
This is a simple test of your knowledge for working with glamour photography while trapped in a small, interior space, such as a basement, garage, or spare bedroom. You will find both true/false questions and multiple-choice questions. It is a short review of your existing knowledge.
Take the test. Record your answers. Then at the end of the test click on the link to go to the answers which are on the full World Photographers Organization site. The link is intended to take you directly to the correct answers.
So, let’s see what you know about Small-Space Glamour Work.
1) How many softbox lights should you have in a small studio space that is used for glamour work?
A) 2 B) 3 C)4 D) 5
2) Can headshots be considered as glamour photography?
True False
3) What is likely to be the first type of photo on a models comp card?
A) Glamour headshot B) Fashion Photo C) Full-body Photo
4) What is often considered the most important element of a glamour shot?
A) White Balance B) Eye Contact C) Accessories
5) Does glamour photography encompass nude images?
A) Yes B) No C) Never
6) What is the most important element of clothing chosen for a glamour shoot?
A) Revealing B) Sexy C) Color
7) How do you make a tall model appear shorter?
A) Photoshop the image B) Shoot upward C) Shoot downward
8) How do you slim heavy hips?
A) Square them up with camera B) turn away from camera C) Neither
9) Use the rule of thirds when shooting glamour shots.
True False
Final Question
Shadows are a common enhancement in glamour photography.
True False
Answers can be found by clicking here: http://www.wpomembers.com/articles/61243276answers_small-space_glamour_shots.pdf
Monday, December 28, 2009
Followers--please contribute when you can
Dear Followers,
Please contribute to our blog when you can, and please let your friends know about the blog.
Thanks.
Dodge
Please contribute to our blog when you can, and please let your friends know about the blog.
Thanks.
Dodge
A Photographer's Nude Nightmare--the tip of the day
A Photographer’s
Nude Nightmare
R. Dodge Woodson
Every year I try to bring in a fresh face, or two, for my stable of models. Very little of my recent work involves models. I specialize in wildlife, macro, and nature photography. But, every now and then, I get the urge to make magic with the human form as I did for many years in the past.
When I began looking for a new go-to model for 2010, I ran into a situation that I have never encountered before in some 35-40 years of photography. It is this experience that I will share with you. Hopefully, you will be far better prepared for it than I was. Fortunately, my life experience prevailed and I did not walk into a trap, but it would have been easy for a young, inexperienced photographer to wind up in a world of trouble.
I prefer my models to be go-to professionals who can do it all, or at least most anything that comes along. The pain of going through a long list of models to find the right one who is available is something I don’t have the time for.
If I am looking for a woman to be a mother with a child in a playground on one shoot and a seductive nude figure study in another session, I want it to be the same person when it is feasible. The more I work with the same models, the better we get to know each other. Our end result is fantastic photos.
Given my rules, most of my models must be willing to model for tasteful nude settings. With this in mind, I state my requirements clearly when I do a casting call for models. My work does not resemble pornography in anyway and is not for the adult market—as it is called on the street.
How Do You Get Nude Models?
How do you get nude models? A lot of people think it is difficult, but it is not. Before I tell you the story of the nude nightmare, let me explain the various methods that I have found to be successful in acquiring models of all types.
• If you have a good reputation, you can run advertisements online or in your local newspapers.
• You can go to modeling agencies and arrange for models to pose for you.
• Word-of-mouth referrals are always good.
I know some people advise photographers to hand out business cards to potential models in general daily life. This is something that I don’t recommend. In my opinion, the person handing out the cards can come off sleazy.
How Much Do You Pay For A Nude Model?
Photographers often ask me how much I pay nude models. They are generally shocked by the answers. Here is what I have been doing over the years:
• Many newbies and part-time models will trade their time (even in the nude) for professional photos to use with their comp cards and portfolios to present at modeling agencies. You would be amazed at how many people will take their clothes off for a camera without getting paid any money.
• Some models take a low rate of payment on an hourly basis, say $8 an hour, and then take pro photos for their portfolios to round up their compensation.
• Agency models seem to cost between $60-$100 and hour. I find that $75 an hour is common in my area. It is difficult to afford much of this unless you are shooting an assignment for a paying client.
• There are your high-end models getting outrageous money that we won’t even talk about here.
• Clothed models tend to charge less than nude models.
Now that I have given you an overview, consider that ranked models from legitimate agencies or who work on the side outside of the agencies will pose nude for less than $100 an hour. And these are gorgeous, top-shelf models. This leads us to the nightmare that I experienced recently.
Behind the Smoke and Mirrors
I placed one of my standard ads on a local advertising site. Emails began to come in. There were a number of male models and a few female models. It was a typical, routine model search in a rural location.
Then I got an email with three photos that appeared to be taken at different locations and most likely by different photographers. I made this assumption given my years of experience and trained eye as a master photographer. Something didn’t seem right. I don’t know really what it was, but it sparked concern for me.
After thinking a bit, I emailed the woman and told her I needed to see some photos that were current and that did not have her in a pro setting. I asked for a full-body shot of her front and back. Since most everyone has a cell phone with a camera in it, I assumed she could get photos back to me quickly. I explained to her that I was pressed for time and would like to see the shots within the next hour and that I didn’t care about the background or surrounding elements, only the body elements. I also told her that I needed to know the minimum rate that she would work for in the nude.
My advertisement stated that models would be paid between $8 and $20 an hour and given a DVD of pro photos for their portfolio. It was plain as day in the advertisement.
The woman emailed me two photos. She didn’t look like the woman in the other photos. In fact, she didn’t even come close to looking like the models. Then the bomb dropped. She wanted $100 an hour with a 2 hour minimum charge for a total of $200. Wait a minute! What is going on here?
I have no facts to base my hypothesis on, but I would be willing to bet that the woman is an undercover prostitute using the modeling scam to avoid law enforcement. There is no way any reputable photographer would consider paying her $100 an hour.
If You Are Looking For a Nude Model
If you are looking for a nude model, be careful. There is a lot of potential risk involved. Insist on the following:
• Confirm that all models are of legal age.
• Require picture identification.
• Have all models sign a model release before mounting a lens on your camera.
• Have an assistant on the set with you.
• If you have a bad feeling about a situation, avoid it.
• Consider setting up a video recorder to capture the shoot on tape. You can tell the model that you are doing this to see on video what you missed with your still camera, and this can be true. But, the video also helps to protect you from false claims made by a model.
Photography is a wonderful hobby and a rewarding profession. Don’t let one bad decision ruin your life forever.
RDW
Nude Nightmare
R. Dodge Woodson
Every year I try to bring in a fresh face, or two, for my stable of models. Very little of my recent work involves models. I specialize in wildlife, macro, and nature photography. But, every now and then, I get the urge to make magic with the human form as I did for many years in the past.
When I began looking for a new go-to model for 2010, I ran into a situation that I have never encountered before in some 35-40 years of photography. It is this experience that I will share with you. Hopefully, you will be far better prepared for it than I was. Fortunately, my life experience prevailed and I did not walk into a trap, but it would have been easy for a young, inexperienced photographer to wind up in a world of trouble.
I prefer my models to be go-to professionals who can do it all, or at least most anything that comes along. The pain of going through a long list of models to find the right one who is available is something I don’t have the time for.
If I am looking for a woman to be a mother with a child in a playground on one shoot and a seductive nude figure study in another session, I want it to be the same person when it is feasible. The more I work with the same models, the better we get to know each other. Our end result is fantastic photos.
Given my rules, most of my models must be willing to model for tasteful nude settings. With this in mind, I state my requirements clearly when I do a casting call for models. My work does not resemble pornography in anyway and is not for the adult market—as it is called on the street.
How Do You Get Nude Models?
How do you get nude models? A lot of people think it is difficult, but it is not. Before I tell you the story of the nude nightmare, let me explain the various methods that I have found to be successful in acquiring models of all types.
• If you have a good reputation, you can run advertisements online or in your local newspapers.
• You can go to modeling agencies and arrange for models to pose for you.
• Word-of-mouth referrals are always good.
I know some people advise photographers to hand out business cards to potential models in general daily life. This is something that I don’t recommend. In my opinion, the person handing out the cards can come off sleazy.
How Much Do You Pay For A Nude Model?
Photographers often ask me how much I pay nude models. They are generally shocked by the answers. Here is what I have been doing over the years:
• Many newbies and part-time models will trade their time (even in the nude) for professional photos to use with their comp cards and portfolios to present at modeling agencies. You would be amazed at how many people will take their clothes off for a camera without getting paid any money.
• Some models take a low rate of payment on an hourly basis, say $8 an hour, and then take pro photos for their portfolios to round up their compensation.
• Agency models seem to cost between $60-$100 and hour. I find that $75 an hour is common in my area. It is difficult to afford much of this unless you are shooting an assignment for a paying client.
• There are your high-end models getting outrageous money that we won’t even talk about here.
• Clothed models tend to charge less than nude models.
Now that I have given you an overview, consider that ranked models from legitimate agencies or who work on the side outside of the agencies will pose nude for less than $100 an hour. And these are gorgeous, top-shelf models. This leads us to the nightmare that I experienced recently.
Behind the Smoke and Mirrors
I placed one of my standard ads on a local advertising site. Emails began to come in. There were a number of male models and a few female models. It was a typical, routine model search in a rural location.
Then I got an email with three photos that appeared to be taken at different locations and most likely by different photographers. I made this assumption given my years of experience and trained eye as a master photographer. Something didn’t seem right. I don’t know really what it was, but it sparked concern for me.
After thinking a bit, I emailed the woman and told her I needed to see some photos that were current and that did not have her in a pro setting. I asked for a full-body shot of her front and back. Since most everyone has a cell phone with a camera in it, I assumed she could get photos back to me quickly. I explained to her that I was pressed for time and would like to see the shots within the next hour and that I didn’t care about the background or surrounding elements, only the body elements. I also told her that I needed to know the minimum rate that she would work for in the nude.
My advertisement stated that models would be paid between $8 and $20 an hour and given a DVD of pro photos for their portfolio. It was plain as day in the advertisement.
The woman emailed me two photos. She didn’t look like the woman in the other photos. In fact, she didn’t even come close to looking like the models. Then the bomb dropped. She wanted $100 an hour with a 2 hour minimum charge for a total of $200. Wait a minute! What is going on here?
I have no facts to base my hypothesis on, but I would be willing to bet that the woman is an undercover prostitute using the modeling scam to avoid law enforcement. There is no way any reputable photographer would consider paying her $100 an hour.
If You Are Looking For a Nude Model
If you are looking for a nude model, be careful. There is a lot of potential risk involved. Insist on the following:
• Confirm that all models are of legal age.
• Require picture identification.
• Have all models sign a model release before mounting a lens on your camera.
• Have an assistant on the set with you.
• If you have a bad feeling about a situation, avoid it.
• Consider setting up a video recorder to capture the shoot on tape. You can tell the model that you are doing this to see on video what you missed with your still camera, and this can be true. But, the video also helps to protect you from false claims made by a model.
Photography is a wonderful hobby and a rewarding profession. Don’t let one bad decision ruin your life forever.
RDW
Friday, December 25, 2009
Photographers Tip of the day--most days
Be on the lookout by the first of 2010 for the Photographer's Tip of the day on most days, brought to you by R. Dodge Woodson and World Photographers Organization.
World Photographers Organziation appoints Asian Division Chief and UK Division Chief
A more formal press release will be forthcoming, but the quick news is this.
David Yeo is now the Asian Division Chief for WPO.
Alison Oxley is no the UK Division Chief of WPO.
What other divisions should WPO create?
Dodge
David Yeo is now the Asian Division Chief for WPO.
Alison Oxley is no the UK Division Chief of WPO.
What other divisions should WPO create?
Dodge
Wednesday, December 23, 2009
I welcome our two new followers
I want to welcome our town new followers.
Thank you for following World Photographers Organization.
R. Dodge Woodson
Founder & Publisher
Thank you for following World Photographers Organization.
R. Dodge Woodson
Founder & Publisher
David Yeo becomes Honorary Gold Member of the WPO
Press Release-For Immediate Release
World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to David Yeo for his service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).
Mr. Yeo has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank him for volunteering his services.
Additionally, Mr. Yeo has contributed beautiful work to our official online magazine, World Images Today.
As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful man and photographer.
R. Dodge Woodson
Founder & Publisher
World Photographers Organization
World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to David Yeo for his service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).
Mr. Yeo has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank him for volunteering his services.
Additionally, Mr. Yeo has contributed beautiful work to our official online magazine, World Images Today.
As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful man and photographer.
R. Dodge Woodson
Founder & Publisher
World Photographers Organization
WPO Press Release on Erin Keith
Press Release-For Immediate Release
World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to Erin Keith for her service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).
Ms. Keith has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank her for volunteering her services.
Additionally, Ms. Keith has contributed beautiful work to our official online magazine, World Images Today.
As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful woman and photographer.
R. Dodge Woodson
Founder & Publisher
World Photographers Organization
World Photographers Organization (WPO) has extended an Honorary Gold VIP membership to Erin Keith for her service in the role of a judge on the WPO monthly photo contest held at WPO Press Room (a social site for photographers ranging from point-and-shooters to pros).
Ms. Keith has been active in the Press Room for months and is now a peer-review judge on the editorial team of WPO. We thank her for volunteering her services.
Additionally, Ms. Keith has contributed beautiful work to our official online magazine, World Images Today.
As the founder and publisher of World Photographers Organization, I extend my deepest gratitude to this wonderful woman and photographer.
R. Dodge Woodson
Founder & Publisher
World Photographers Organization
Friday, December 18, 2009
Make Money With Your Camera The Real Way--Earn It!
Photographers who want to make money with their camera should visit Cash In with your Camera!
It is a subsection of the WPO Press Room and overseen by World Photographers Organization. The group was created by R. Dodge Woodson. All are welcome and it is free to join.
Get your part-time or full-time photography business up and running now. You can make money with your camera.
R. Dodge Woodson
It is a subsection of the WPO Press Room and overseen by World Photographers Organization. The group was created by R. Dodge Woodson. All are welcome and it is free to join.
Get your part-time or full-time photography business up and running now. You can make money with your camera.
R. Dodge Woodson
Wednesday, December 16, 2009
Get your photos published at no cost and with no gimmicks
Get Your Photos Published With No Cost and No Gimmicks
The World Photographers Organization, its official online magazine, World Images Today, and R. Dodge Woodson bring photographers from amateurs to pros this opportunity.
Get your photos published at no cost to you.
Photographers get full credit each photo used and retains all of their rights to the photos.
Amateurs and pros are welcome.
This is NOT A CONTEST.
Photos will be selected by the World Images Today editorial team at random.
Articles written around the photos are welcome.
Photographers are not paid for the publishing of their work.
All photographers who have their work published are entitled to a 25% discount from World Photographers Organization membership dues.
Send your submissions to: publisher @wpomembers.com
Stop in and see our free photo social site, the WPO Press Room.
R. Dodge Woodson
Founder and Publisher
The World Photographers Organization, its official online magazine, World Images Today, and R. Dodge Woodson bring photographers from amateurs to pros this opportunity.
Get your photos published at no cost to you.
Photographers get full credit each photo used and retains all of their rights to the photos.
Amateurs and pros are welcome.
This is NOT A CONTEST.
Photos will be selected by the World Images Today editorial team at random.
Articles written around the photos are welcome.
Photographers are not paid for the publishing of their work.
All photographers who have their work published are entitled to a 25% discount from World Photographers Organization membership dues.
Send your submissions to: publisher @wpomembers.com
Stop in and see our free photo social site, the WPO Press Room.
R. Dodge Woodson
Founder and Publisher
Monday, December 14, 2009
Publisher seeks photographers to write and illustrate photo how-to ebooks
Lone Wolf Enterprises, Ltd, in conjunction with World Photographers Organization, is seeking photographers to write and illustrate photo how-to books on very specific topics. Examples of potential titles could include:
Insider Tips on Insect Photography
Shoot Better Indoor Photos
Capture Lovely Landscapes
The Art of Tasteful Nude Photography
Shooting Winning Model Portfolios
and the list goes on. See details below:
Ebook Proposal Guidelines
What does a book proposal consist of? The basic elements are as follows:
* Cover letter
* Title of the book
* Table of contents
* Audience
* Competition
* Concept and approach
* Credentials
* One sample chapter
* Contact information
Cover Letter
Your cover letter should be concise. Keep it to a single page. This letter is your sales pitch, so make every word count. Tell in no more than two paragraphs why a publisher should be interested in your idea. Follow this with a brief review of your credentials to author the book, and then lead into the proposal contents.
Title of Book
Choose the title of your book carefully. Don’t make it too long. Avoid being cute with the title. If you are selling a how-to book, the title should reflect the subject matter. An example might be: Night Photography. Another example could be: Making Money as an In-Home Photographer. The book title is the beginning hook for securing a publisher, so invest enough time in it to make yourself successful.
Table of Contents
How long should a table of contents be? It should be as long as it needs to be. Most non-fiction books contain between 10 and 20 chapters. I would say a good average is around 16 chapters. The word count for such a book is likely to be between 50,000 words and 85,000 words.
Ebooks can be smaller. There should be at least 48 pages. Sixty pages are better, and 125 pages are ideal. Depending on illustrations, this could make the word count as low as 12,000 words or as high as 40,000 words.
Chapters do not have to be equal in length. You should make them as long as they need to be to convey the required information to readers. A table of contents should begin with a heading for an introduction. From there, you list chapters in numerical order, as they will appear in the book. Under each chapter title you should either write a paragraph that explains what the chapter will contain, or use a bullet list of at least five key topics to be covered in the chapter.
Consider if your book will benefit from a glossary or appendix materials. If so, this information should be listed on the table of contents.
Audience
Who is the audience for your book? Never say everyone. There should be a prime audience and a secondary audience. If you are writing a book about macro photography, your prime audience will be macro photographers. Secondary markets could be nature photographers, wildlife photographers, and so forth. The more defined list of an audience you provide, the better your chances of making a sale are.
Competition
You need to know your competition and point it out to your perspective publisher. Don’t look for a book that has never been written. Publishers like the comfort level of being able to check the sales records of similar types of books to see what the likelihood of success is for your project.
Online book stores are excellent places to conduct your research. Find three books that match your concept as closely as possible. Then record the following data for your proposal:
* Book title
* Author’s name
* Publisher’s name
* Date of publication
* Number of pages in the book
* Price of the book
* International Standard Book Number (ISBN) for the book
Determine what makes your book idea better or different, and explain it to the publisher. If you can’t do this, your book will probably not get published by a major publisher.
Concept and Approach
The concept and approach are your big sales pitch. This is where you describe the contents of your book, your credentials, and what will make your book a pleasure to publish and profit from. This section is usually about two pages long.
When fleshing out the concept and approach you will want to include the types of illustrations you will use and how many of them the book will contain. How many book pages do you foresee the book having? Will you incorporate tip boxes or sidebars?
Don’t worry about pricing the book or suggesting cover designs. The publisher will take care of this when the time comes.
Use this section to describe your writing style. Conversational style is usually desired. Tell the publisher whatever is suitable to your topic in a way to make the book appear more desirable.
Credentials
Credentials are a key element in selling a non-fiction book. List all of your experience related to the subject matter. Make note of your education, licenses held, or other information that makes you the right author for the book. List any organizations that you belong to that might be conducive to special sales. Essentially, sell yourself.
Sample Chapter
Many publishers will require one or two sample chapters from unknown authors. We generally require only one sample chapter. This allows the publisher to study your style and ability. It is best to use chapters from around the middle of the book. Avoid using the first or last chapter. Make your work shine. If you have gotten to the stage where a publisher is reading your sample work, you are well on the way to getting a book contract.
Contact Information
Don’t forget to include all of your contact information for publishers to use. It may be surprising, but some authors fail to do this. Make yourself accessible and easy to contact if you want to make a sale.
Submission
We accept sample chapters via email. The same is true of low-res photos that will be used in an ebook. These materials can be emailed to: lonewolf@lonewolfent.net High-res photos that will appear in the book need to be sent on disk to:
Lone Wolf Enterprises, Ltd.
WPO Division
PMB # 300 13 Gurnet Road
Brunswick, ME 04011
Phone: 207-666-8579
R. Dodge Woodson Endorsed and Approved
Insider Tips on Insect Photography
Shoot Better Indoor Photos
Capture Lovely Landscapes
The Art of Tasteful Nude Photography
Shooting Winning Model Portfolios
and the list goes on. See details below:
Ebook Proposal Guidelines
What does a book proposal consist of? The basic elements are as follows:
* Cover letter
* Title of the book
* Table of contents
* Audience
* Competition
* Concept and approach
* Credentials
* One sample chapter
* Contact information
Cover Letter
Your cover letter should be concise. Keep it to a single page. This letter is your sales pitch, so make every word count. Tell in no more than two paragraphs why a publisher should be interested in your idea. Follow this with a brief review of your credentials to author the book, and then lead into the proposal contents.
Title of Book
Choose the title of your book carefully. Don’t make it too long. Avoid being cute with the title. If you are selling a how-to book, the title should reflect the subject matter. An example might be: Night Photography. Another example could be: Making Money as an In-Home Photographer. The book title is the beginning hook for securing a publisher, so invest enough time in it to make yourself successful.
Table of Contents
How long should a table of contents be? It should be as long as it needs to be. Most non-fiction books contain between 10 and 20 chapters. I would say a good average is around 16 chapters. The word count for such a book is likely to be between 50,000 words and 85,000 words.
Ebooks can be smaller. There should be at least 48 pages. Sixty pages are better, and 125 pages are ideal. Depending on illustrations, this could make the word count as low as 12,000 words or as high as 40,000 words.
Chapters do not have to be equal in length. You should make them as long as they need to be to convey the required information to readers. A table of contents should begin with a heading for an introduction. From there, you list chapters in numerical order, as they will appear in the book. Under each chapter title you should either write a paragraph that explains what the chapter will contain, or use a bullet list of at least five key topics to be covered in the chapter.
Consider if your book will benefit from a glossary or appendix materials. If so, this information should be listed on the table of contents.
Audience
Who is the audience for your book? Never say everyone. There should be a prime audience and a secondary audience. If you are writing a book about macro photography, your prime audience will be macro photographers. Secondary markets could be nature photographers, wildlife photographers, and so forth. The more defined list of an audience you provide, the better your chances of making a sale are.
Competition
You need to know your competition and point it out to your perspective publisher. Don’t look for a book that has never been written. Publishers like the comfort level of being able to check the sales records of similar types of books to see what the likelihood of success is for your project.
Online book stores are excellent places to conduct your research. Find three books that match your concept as closely as possible. Then record the following data for your proposal:
* Book title
* Author’s name
* Publisher’s name
* Date of publication
* Number of pages in the book
* Price of the book
* International Standard Book Number (ISBN) for the book
Determine what makes your book idea better or different, and explain it to the publisher. If you can’t do this, your book will probably not get published by a major publisher.
Concept and Approach
The concept and approach are your big sales pitch. This is where you describe the contents of your book, your credentials, and what will make your book a pleasure to publish and profit from. This section is usually about two pages long.
When fleshing out the concept and approach you will want to include the types of illustrations you will use and how many of them the book will contain. How many book pages do you foresee the book having? Will you incorporate tip boxes or sidebars?
Don’t worry about pricing the book or suggesting cover designs. The publisher will take care of this when the time comes.
Use this section to describe your writing style. Conversational style is usually desired. Tell the publisher whatever is suitable to your topic in a way to make the book appear more desirable.
Credentials
Credentials are a key element in selling a non-fiction book. List all of your experience related to the subject matter. Make note of your education, licenses held, or other information that makes you the right author for the book. List any organizations that you belong to that might be conducive to special sales. Essentially, sell yourself.
Sample Chapter
Many publishers will require one or two sample chapters from unknown authors. We generally require only one sample chapter. This allows the publisher to study your style and ability. It is best to use chapters from around the middle of the book. Avoid using the first or last chapter. Make your work shine. If you have gotten to the stage where a publisher is reading your sample work, you are well on the way to getting a book contract.
Contact Information
Don’t forget to include all of your contact information for publishers to use. It may be surprising, but some authors fail to do this. Make yourself accessible and easy to contact if you want to make a sale.
Submission
We accept sample chapters via email. The same is true of low-res photos that will be used in an ebook. These materials can be emailed to: lonewolf@lonewolfent.net High-res photos that will appear in the book need to be sent on disk to:
Lone Wolf Enterprises, Ltd.
WPO Division
PMB # 300 13 Gurnet Road
Brunswick, ME 04011
Phone: 207-666-8579
R. Dodge Woodson Endorsed and Approved
Sunday, December 13, 2009
R. Dodge Woodson, internationally-known, best-selling author and photographer, with more than 100 titles published, shakes the publishing industry.
Press Release
Immediate Release
R. Dodge Woodson, internationally-known, best-selling author and photographer, with more than 100 titles published by major publishers, shakes the publishing industry to its core!
Brunswick, Maine 12-13-09
R. Dodge Woodson, the internationally-known, best-selling author and photographer with more than 100 books published by major publishers, makes this announcement that unsettles the publishing industry.
Woodson told the editors of CCI today that he is going into semi-retirement as an author. He intends to revise his existing books and will consider writing selective titles in construction-related titles. After nearly 20 years of writing for McGraw-Hill, Simon & Shuster, Wiley, and others, Woodson is pushing his keyboard aside and picking up his camera gear.
Dodge and his wife, Leona, will continue to be a driving force in the publishing industry. Their corporation, Lone Wolf Enterprises, Ltd., is a long-established, renowned book producer who has provided authors and created top-shelf books for many big-name publishers. Leona and the Lone Wolf team will handle day-to-day responsibilities with Dodge never being far away when needed.
This much-deserved change in focus will allow Dodge to pursue his lifelong passion of photography. He has done it all, but wildlife, nature, and macro photography are what he loves the most.
R. Dodge Woodson founded World Photographers Organization this year. He also created and publishes the organization’s official online magazine, World Images Today. In addition, Woodson created a photographer’s social media group known as the WPO Press Room.
It is Woodson’s goal to live out the remainder of his life on the remote 150 acres of Maine forest that he owns. It is known as Pheasant Hill Forest. This is where the Lone Wolf office building is located and where Woodson maintains a photo studio, his home, and a rustic cabin tucked away in the woods. While Woodson will continue to do selective writing of books, ebooks, and articles, most of his remaining years will be dedicated to photography.
As a publisher, Woodson’s companies will specialize in photography books that will range from how-to ebooks to full-color bound books, such as their most recent release, Maine Unseen: A Photographic Experience That Few Witness. This a book developed by R. Dodge Woodson and one that includes the work of more than a dozen Maine photographers. It is a viewer’s guide to seeing the Maine that few people ever notice.
As word of this icon in the publishing world stepping back to concentrate heavily on photography spreads, publishers and editors are sure to wonder how reduced offerings from the ever-dependable, prolific author will affect their bottom lines.
Woodson hinted at the notion that some talk between he and a publisher was ongoing in the publisher’s effort to retain an exclusive on all future R. Dodge Woodson books pertaining to the construction industry.
Sparks are sure to fly. Reaction to this news will reverberate quickly throughout the writing, publishing, and photography industries.
Woodson gave us one quote to use in this release. He said, and I quote “Life is better when seen through a Canon® L lens.”
R. Dodge Woodson can be reached for interviews at mailto:publisher@wpomembers.com.
###
Immediate Release
R. Dodge Woodson, internationally-known, best-selling author and photographer, with more than 100 titles published by major publishers, shakes the publishing industry to its core!
Brunswick, Maine 12-13-09
R. Dodge Woodson, the internationally-known, best-selling author and photographer with more than 100 books published by major publishers, makes this announcement that unsettles the publishing industry.
Woodson told the editors of CCI today that he is going into semi-retirement as an author. He intends to revise his existing books and will consider writing selective titles in construction-related titles. After nearly 20 years of writing for McGraw-Hill, Simon & Shuster, Wiley, and others, Woodson is pushing his keyboard aside and picking up his camera gear.
Dodge and his wife, Leona, will continue to be a driving force in the publishing industry. Their corporation, Lone Wolf Enterprises, Ltd., is a long-established, renowned book producer who has provided authors and created top-shelf books for many big-name publishers. Leona and the Lone Wolf team will handle day-to-day responsibilities with Dodge never being far away when needed.
This much-deserved change in focus will allow Dodge to pursue his lifelong passion of photography. He has done it all, but wildlife, nature, and macro photography are what he loves the most.
R. Dodge Woodson founded World Photographers Organization this year. He also created and publishes the organization’s official online magazine, World Images Today. In addition, Woodson created a photographer’s social media group known as the WPO Press Room.
It is Woodson’s goal to live out the remainder of his life on the remote 150 acres of Maine forest that he owns. It is known as Pheasant Hill Forest. This is where the Lone Wolf office building is located and where Woodson maintains a photo studio, his home, and a rustic cabin tucked away in the woods. While Woodson will continue to do selective writing of books, ebooks, and articles, most of his remaining years will be dedicated to photography.
As a publisher, Woodson’s companies will specialize in photography books that will range from how-to ebooks to full-color bound books, such as their most recent release, Maine Unseen: A Photographic Experience That Few Witness. This a book developed by R. Dodge Woodson and one that includes the work of more than a dozen Maine photographers. It is a viewer’s guide to seeing the Maine that few people ever notice.
As word of this icon in the publishing world stepping back to concentrate heavily on photography spreads, publishers and editors are sure to wonder how reduced offerings from the ever-dependable, prolific author will affect their bottom lines.
Woodson hinted at the notion that some talk between he and a publisher was ongoing in the publisher’s effort to retain an exclusive on all future R. Dodge Woodson books pertaining to the construction industry.
Sparks are sure to fly. Reaction to this news will reverberate quickly throughout the writing, publishing, and photography industries.
Woodson gave us one quote to use in this release. He said, and I quote “Life is better when seen through a Canon® L lens.”
R. Dodge Woodson can be reached for interviews at mailto:publisher@wpomembers.com.
###
Saturday, December 12, 2009
Advertising Executive Wanted
Advertising Executive Wanted: World Images Today, the official online magazine of World Photographers Organization, is seeking someone to take control and establish sales of subscriptions and ad space for the magazine in 2010. This will be an independent-contractor, commission-based position. Work your own hours from home if you like. R. Dodge Woodson, the Publisher, must approve all items for public display or used to solicit attention and-or sales to all corporations and organizations owned or controlled by the Publisher.
Interested parties are invited to submit a brief description of why they are qualified for this position. Please include a date when you can begin work. All applicants must be legal adults.
Commission rates and schedules are negotiable.
Respond by EMAIL ONLY to: mailto:publisher@wpomembers.com
Interested parties are invited to submit a brief description of why they are qualified for this position. Please include a date when you can begin work. All applicants must be legal adults.
Commission rates and schedules are negotiable.
Respond by EMAIL ONLY to: mailto:publisher@wpomembers.com
R. Dodge Woodson in the news interview
See complete interview, including photos, at : http://photopotpourri.blogspot.com/search/label/Woodson
Saturday, December 12, 2009
PP's Photographer in the Spotlight:
R. Dodge Woodson
I met R. Dodge Woodson through Picture Social, an online photographers' networking site. By the time I arrived there, Dodge had already contributed much helpful information to other photographers' inquiries at the various message boards and topical discussion threads.
Dodge is a multiskilled professional and has racked up accomplishments in most of these trades: plumbing, real estate development, home building, law enforcement, book and magazine writing, and Web site launching. Oh, yeah, and he's a longtime photographer whose work has appeared in books, magazines and many online sites.
Dodge lives in Maine, where he has an expansive landscape to explore and indulge his wildlife photography hobby and passion ... and where he stopped recently to answer some questions I tossed at him.
Dodge, I know you've been shooting pictures for many years. What got you into the craft, and was it a sudden thing or something you worked into after practice and repetition? Do you have any favorite photographers whose work you follow closely, or ... from whom you've drawn inspiration over the years?
I can’t remember my first photo or my love for it. My passion for photography started at a very early age. The first camera I can vividly remember was a Kodak InstaMatic that used MagiCubes for flash.
I carried my camera proudly and took photos of everything from scenics and landscapes to embarrassing photos of family members and sunsets.
My love of photography was instant and grew year after year. When I got my first “real” camera, a Minolta SRT 101 with a black body, my father told me it was a fad that would pass. Dad passed away a few years ago, and I was still taking photos. He and I joked about it in his last days. My mother, who is also deceased, always supported my photography.
There are several photographers who have impacted my life. Far and away the most prevalent, big-name pro was Leonard Lee Rue III. His true excellence in wildlife photography was a perfect tie-in to my interests. I am now 53, and my idol is 83 and still shooting. We have recently begun exchanging emails, and Lennie has joined the World Photographers Organization. Having such an international icon accept me and my group was almost unbelievable to me.
There are many photographers I followed over the years. Richard Avedon was my favorite “people photographer.” Ansel Adams is a part of every serious photographer’s life. Richard Witmore gave me my start as an assistant in his studio and darkroom. There are countless others who have impacted my photography, and I truly thank them all.
Since you're been a photographer for so long, talk to me a bit about how your choice for gear has evolved through the years, beginning with the very first piece of film equipment you owned and used, your "favorite" lenses and/or camera-body upgrades you've made through the years, what digital equipment you use now ... and last, but not least, how easy or difficult it was for you to make the transition from film to digital (and when did you finally bump up to digital). Do you ever shoot film anymore?
A Minolta SRT 101 was my first single-lens-reflex (SLR) camera. I later changed to a Canon AE-1. Then I went to Canon A1 bodies. I could not afford the F series or the L lenses, but I used mostly Canon lenses. When I went digital, I went with a Canon 10D. It was okay, but I upgraded to a Canon 5D. I still have that one and now use a Canon 5D Mark II most of the time.
My favorite lenses have always been macro lenses and strong telephotos lenses. I love macro, nature, and wildlife photography, and these are the tools of my trade. Presently, my lenses are as follows:
All Canon L lenses
180mm F 3.5 macro
65mm MP-E F 2.8 5X macro
17-40 zoom F 4.0
70-200mm F 2.8 zoom
400mm F 5.6
Non-L lens
100mm macro F 2.8
I was resistive to change to a digital format. It seemed like there would no longer be “real” photographers. Instead of having a split second to catch an image on KodaChrome slide film, digital photographers could take mediocre photos and fix them on a computer. I was against it. But now, I love it! And no, I do not even own a film camera at this time.
I see from your biography at your Lone Wolf Enterprises Web site that you are multi-skilled. You are savvy in plumbing, remodeling, real estate, book-writing ... and you've even logged time as a law enforcement officer. How did all of those pursuits evolve, and how do/did you find time for them? How did your photography fit into the mix?
This is a question with long answers. I left high school and went into law enforcement for three years. I was shot twice, stabbed once, and sliced open once for $8,040 a year. Money was not my motivator. I loved the job and served as the department’s crime-scene photographer in addition to my undercover work. At the time, I was one of only three officers in VA who were 18 years of age. Due to my youth, I was a perfect operative in the drug world.
When I left law enforcement I went into plumbing. From there I went to owning my own business in 1979 and never looked back. Photography was always there. I was represented by Globe Photos, in NYC as a stock photographer. My local activities were occasional paid shoots. The camera provided a stress-reliever for me throughout all of my other professional aspirations.
I have always built on one thing to create another. This took me from plumbing 365 townhouses a year to bath and kitchen remodeling and plumbing. They tied together nicely. Then came home building. In 1983 I was building 60 single-family homes a year in VA. During this time I began creating and presenting photography seminars.
In 1987, after the tax-law changes, I moved to Maine. The wildlife photography opportunities are great, and the nature shots are outstanding. Presently, I live on about 150 acres of wooded Maine forest with Leona, my wife, have my office building on site, and enjoy the private life with our children stopping in when they can.
Along the way I wrote and illustrated magazine articles by the dozens for such magazines as Outdoor Life. That led to writing how-to books for consumers. Most of the books were home related, but I also did travel books and The Complete Idiot’s Guide to Photography (the film version).
My photography was out there as stock photography throughout the years. I also did weddings, magazine covers, pet photography, nudes, boudoir photography, portraits, advertising work, model portfolios, in-home photography and the other routine commercial photography assignments.
After writing many books, I established Lone Wolf Enterprises, Ltd. as a book producer that has grown into a publisher. Personally, I have published more than 100 books for major publishers, such as Simon & Schuster, John Wiley & Sons, McGraw-Hill and others. As a book producer, Lone Wolf has probably done 75-100 professional reference books for major publishers. This work has allowed for me to shoot book covers and do inside book photos.
You're currently living in Maine. Talk to me a little bit about all the things Maine has to offer for a photographer looking for an intruiging outing ... or a resident, just in need of a photographic getaway. Have you "seen it all" ... or is there plenty to discover?
As a macro photographer, I could easily spend the next decade in my backyard without seeing it all. Maine is an outdoor photographer’s dream. Coastlines and beaches are expansive. Wildlife is abundant. Wilderness is often less than 3 hours away from almost anywhere in the state. Lakes, rivers and streams seem to be everywhere. Snow comes early and stays late for great winter shooting. Mountains are scarce, and I regret that, but the mountains of NH and VT are not too far away. Anyone who says they have seen it all must have had their eyes shut or their lens cap on. There is far more than a lifetime of photo opportunities in the great state of Maine.
At what point did you get into wildlife photography? What percentage of your shooting entails wildlife? Did you have the necessary gear to handle such work before you got into it, or did you have to acquire things -- long-focal length lenses, filters, special tripods or monopods, weather-protection gear, etc.
I went after robins and squirrels on the lawn as soon as I had a camera. Wildlife photography has never been a profit center for me. It is a passion. Guessing, I would say 30% of my work is with wildlife. As to having the equipment, have you ever met photographers who had all the gear they needed? Or is that wanted? Umm. I built my system over the years to include what I felt was necessary. This meant buying and selling some items and keeping others for life.
Is there a certain kind of wildlife work you're most interested in? Birds? Exotics? Beasts? Insects, Reptiles? The African wild? What advice would you give someone who realizes they would like to do more of that kind of work but isn't sure how best to develop their skills? Would it help to be able to spend one or more outings with someone who is skilled at it?
I tend to photograph animals of all types. I suppose moose and deer would be my big game and insects would be my macro hunting.
Spending an outing with an experienced photographer isn’t going to get the job done. Study and experience are needed first. Learning how to read and anticipate nature is essential. A great wildlife photographer has either been a hunter or a naturalist.
I would suggest a quality course to start with and then an excellent workshop to follow it up. After that, I would hire a professional guide to get me off on the right foot if I am not familiar with an area, my subject, or the general needs of a photo expedition.
Are there any shoots in particular that stand out -- have a good anecdote or two? Any brushes with danger while out on a shoot?
I don’t recall any particular outstanding shoot, but I can tell you a lot that I learned the hard way.
* Alligators are faster on land that you might think.
* When a bull moose is swimming towards your canoe, don’t wait for the perfect shot, start paddling in the opposite direction, and do it quickly.
* Timber rattlesnakes are sometimes completely black. This is a good one to remember.
* If you have allergies, don’t belly down in poison oak, ivy, or sumac for that great macro shot.
* Cameras don’t float well.
* Insure your equipment with a special rider policy to cover it under working conditions as a photographer in the field.
* Swooping owls look like stealth aircraft up close.
* A deer or a moose pawing at the ground is telling you to vacate.
There are hundreds of these to tell whenever someone is interested in what not to do.
Have you spent much time pursuing your wildlife interests in Africa or South America or any continent outside of North America? How about in Canada? I realize that IS in North America, but since you're so close to it in Maine, I can't help but wonder if that is a natural destination for you.
I keep my feet on US soil.
You're a prolific writer and author. What has the photography book-writing side of your career been like? Isn't that time-consuming? To develop a topic, organize your thoughts, edit the text and collect, edit and output images? Do you have help with that? You've also written books about other subjects -- plumbing, real estate, land development and home building and remodeling, to name a few topics. Are any of those works more hugely popular than the others? You also maintain a regular blog online, right? How do you find time for it all?
My writing career has been a bit of a fast track. In one year, I wrote a total of 13 full-size books for major publishers. When it comes to making R. Dodge Woodson come to life, I normally do all of the manuscript work. Leona sometimes assists me in obtaining line drawings.
My pro reference books pay out the most royalties. A large percentage of my books are best-sellers and offered in various languages internationally.
The blog is related to World Photographers Organization. I also produce, design, and publish World Images Today (WIT), an online magazine. Samples of the magazine are available on the WPO home site.
The trick of putting extra sand in the hourglass is one that will remain a mystery. My doctor would not approve if I told you how many hours I work and how many I sleep.
As if you needed another diversion ... you recently launched a new global photographers' network, World Photographers Organization. There is a growing number of online photography networking groups -- photo.net, PictureSocial, Professional Photographers of America come to mind immediately. Talk to me a little bit about how you felt the WPO can distinguish itself from the others ... what it will offer that the others might not?
My life changed about this time last year when I nearly died 3 times in two months due to a rogue infection in my leg. It was while in the hospital that I decided to go public with WPO. Up until them, it was a tight-knit group of pros in Maine. Now it is worldwide and growing and growing, and growing some more.
World Photographers Organization not only can distinguish itself from others, it already has! Picture Social is a class act. I was a member prior to creating the WPO social site at WPO Press Room. Picture Social and similar sites are good for photographers, but they don’t go the extra mile that WPO does in helping their members, guiding people from the experience of established professionals, and offering direct publishing and money-making opportunities that are NOT pie in the sky. They are very real.
Professional Photographers of America (PPA) is a top-shelf organization, but it is very different from WPO. I have been a member of PPA. The last time I looked the annual dues were in excess of $300. WPO’s Premium Membership is only $139 a year and a Gold Membership is $195 a year. During my time as a member, PPA focused very heavily on wedding photography. This makes perfect sense in terms of earnings, but it leaves a lot of photographers wondering why they are getting the organization’s magazine. I have no interest in bashing any group of people. What we do with WPO is our vision, and everyone is entitled to their own choices of who they wish to join.
You ask how WPO is, or will be different. Here are my goals, beliefs, and thoughts:
WPO and WIT offer, or will offer, the following:
* What members ask for
* Paying freelance markets
* Behind-the-scenes information due to my unique positioning in the industry
* Places to get published now
* Press credentials
* Model consultant credentials
* An online portfolio on the WPO site
* Direct email contact with working pros to answer questions
* Extensive online resources
* Pro pointers on the WPO site and in World Images Today to help amateurs and professionals
* An open door for point-and-shooters to pros
* A non-judgmental environment
* Cyber friends and nearby photographers
* Unbiased reviews of products and services
* Rip-off Tip offs
* A listing in a searchable database so that customers can find you
* Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
* Photo contests
* Inside information on what makes editors and publishers tick from an expert publishing consultant
* Access to professional business consulting with Creative Consulting Inc.
* Photo industry updates
* Secure testimonials and endorsements
* Opportunity to see your work published in World Images Today
* Become a photojournalist for this worldwide media outlet
* 20% discount on courses and workshops offered by World Photographers Organization
* Certificates of recognition
* Access to Book Busters and Ready Reports
* Professional photo critiquing
* Annual subscription to WIT
* Archived articles to learn from
* Pro money-making suggestions
* An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
* Direct phone contact with R. Dodge Woodson for consultations
* Up to 5 free classified ads per month
This hits the high spots, and I think anyone will admit that no other club, organization, association, or group offers nearly as many features and benefits.
What's your vision for the WPO ... say, five years down the road?
I expect WPO to be a world leader in photography and related media work. WPO recently decided to accept graphic artists, book compositors, authors, writers, editors, proofreaders, indexers and other publishing professionals as members in both WPO and in the WPO Press Room. Down the road, I can see a World Media Professionals Organization to answer the needs of anyone from a major publisher to a freelance photographer a place to work with and for.
I ask a lot of my profile subjects whether they've ever had their work on display in galleries, and if not, whether they would like that some day? Given how much you've been published (and I presume that includes images in various photography and wider-scope magazines, periodicals and such), is this a moot question for you? If not, talk to me about any of the gallery displays you've been able to enjoy. And if you've had that privilege, what could you tell photographers who haven't reached that plateau about getting there?
I have never been a gallery guy. Even if I were not as well known and as heavily published as I am, hanging prints in a gallery wouldn’t do it for me. It’s the same thing with contests. When it comes to photography, I have a short list to please, and it is as follows:
* My code of integrity, honor and ethics
* My customer, if the photography is a paying job
* Myself, if the shoot is personal
* My subjects, whether it be moose or mushrooms in that I do no harm and that I do not alter nature for the sake of a marketable photo
To learn more about Dodge, his enterprises and the WPO, follow these links:
Dodge's Lone Wolf Enterprises
World Photographers Organization
Posted by Joe Konz at 11:30 AM 0 comments Links to this post
Labels: Dodge, home building, Lone Wolf Enterprises, plumbing, remodeling, spotlight, wildlife, Woodson, WPO
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Saturday, December 12, 2009
PP's Photographer in the Spotlight:
R. Dodge Woodson
I met R. Dodge Woodson through Picture Social, an online photographers' networking site. By the time I arrived there, Dodge had already contributed much helpful information to other photographers' inquiries at the various message boards and topical discussion threads.
Dodge is a multiskilled professional and has racked up accomplishments in most of these trades: plumbing, real estate development, home building, law enforcement, book and magazine writing, and Web site launching. Oh, yeah, and he's a longtime photographer whose work has appeared in books, magazines and many online sites.
Dodge lives in Maine, where he has an expansive landscape to explore and indulge his wildlife photography hobby and passion ... and where he stopped recently to answer some questions I tossed at him.
Dodge, I know you've been shooting pictures for many years. What got you into the craft, and was it a sudden thing or something you worked into after practice and repetition? Do you have any favorite photographers whose work you follow closely, or ... from whom you've drawn inspiration over the years?
I can’t remember my first photo or my love for it. My passion for photography started at a very early age. The first camera I can vividly remember was a Kodak InstaMatic that used MagiCubes for flash.
I carried my camera proudly and took photos of everything from scenics and landscapes to embarrassing photos of family members and sunsets.
My love of photography was instant and grew year after year. When I got my first “real” camera, a Minolta SRT 101 with a black body, my father told me it was a fad that would pass. Dad passed away a few years ago, and I was still taking photos. He and I joked about it in his last days. My mother, who is also deceased, always supported my photography.
There are several photographers who have impacted my life. Far and away the most prevalent, big-name pro was Leonard Lee Rue III. His true excellence in wildlife photography was a perfect tie-in to my interests. I am now 53, and my idol is 83 and still shooting. We have recently begun exchanging emails, and Lennie has joined the World Photographers Organization. Having such an international icon accept me and my group was almost unbelievable to me.
There are many photographers I followed over the years. Richard Avedon was my favorite “people photographer.” Ansel Adams is a part of every serious photographer’s life. Richard Witmore gave me my start as an assistant in his studio and darkroom. There are countless others who have impacted my photography, and I truly thank them all.
Since you're been a photographer for so long, talk to me a bit about how your choice for gear has evolved through the years, beginning with the very first piece of film equipment you owned and used, your "favorite" lenses and/or camera-body upgrades you've made through the years, what digital equipment you use now ... and last, but not least, how easy or difficult it was for you to make the transition from film to digital (and when did you finally bump up to digital). Do you ever shoot film anymore?
A Minolta SRT 101 was my first single-lens-reflex (SLR) camera. I later changed to a Canon AE-1. Then I went to Canon A1 bodies. I could not afford the F series or the L lenses, but I used mostly Canon lenses. When I went digital, I went with a Canon 10D. It was okay, but I upgraded to a Canon 5D. I still have that one and now use a Canon 5D Mark II most of the time.
My favorite lenses have always been macro lenses and strong telephotos lenses. I love macro, nature, and wildlife photography, and these are the tools of my trade. Presently, my lenses are as follows:
All Canon L lenses
180mm F 3.5 macro
65mm MP-E F 2.8 5X macro
17-40 zoom F 4.0
70-200mm F 2.8 zoom
400mm F 5.6
Non-L lens
100mm macro F 2.8
I was resistive to change to a digital format. It seemed like there would no longer be “real” photographers. Instead of having a split second to catch an image on KodaChrome slide film, digital photographers could take mediocre photos and fix them on a computer. I was against it. But now, I love it! And no, I do not even own a film camera at this time.
I see from your biography at your Lone Wolf Enterprises Web site that you are multi-skilled. You are savvy in plumbing, remodeling, real estate, book-writing ... and you've even logged time as a law enforcement officer. How did all of those pursuits evolve, and how do/did you find time for them? How did your photography fit into the mix?
This is a question with long answers. I left high school and went into law enforcement for three years. I was shot twice, stabbed once, and sliced open once for $8,040 a year. Money was not my motivator. I loved the job and served as the department’s crime-scene photographer in addition to my undercover work. At the time, I was one of only three officers in VA who were 18 years of age. Due to my youth, I was a perfect operative in the drug world.
When I left law enforcement I went into plumbing. From there I went to owning my own business in 1979 and never looked back. Photography was always there. I was represented by Globe Photos, in NYC as a stock photographer. My local activities were occasional paid shoots. The camera provided a stress-reliever for me throughout all of my other professional aspirations.
I have always built on one thing to create another. This took me from plumbing 365 townhouses a year to bath and kitchen remodeling and plumbing. They tied together nicely. Then came home building. In 1983 I was building 60 single-family homes a year in VA. During this time I began creating and presenting photography seminars.
In 1987, after the tax-law changes, I moved to Maine. The wildlife photography opportunities are great, and the nature shots are outstanding. Presently, I live on about 150 acres of wooded Maine forest with Leona, my wife, have my office building on site, and enjoy the private life with our children stopping in when they can.
Along the way I wrote and illustrated magazine articles by the dozens for such magazines as Outdoor Life. That led to writing how-to books for consumers. Most of the books were home related, but I also did travel books and The Complete Idiot’s Guide to Photography (the film version).
My photography was out there as stock photography throughout the years. I also did weddings, magazine covers, pet photography, nudes, boudoir photography, portraits, advertising work, model portfolios, in-home photography and the other routine commercial photography assignments.
After writing many books, I established Lone Wolf Enterprises, Ltd. as a book producer that has grown into a publisher. Personally, I have published more than 100 books for major publishers, such as Simon & Schuster, John Wiley & Sons, McGraw-Hill and others. As a book producer, Lone Wolf has probably done 75-100 professional reference books for major publishers. This work has allowed for me to shoot book covers and do inside book photos.
You're currently living in Maine. Talk to me a little bit about all the things Maine has to offer for a photographer looking for an intruiging outing ... or a resident, just in need of a photographic getaway. Have you "seen it all" ... or is there plenty to discover?
As a macro photographer, I could easily spend the next decade in my backyard without seeing it all. Maine is an outdoor photographer’s dream. Coastlines and beaches are expansive. Wildlife is abundant. Wilderness is often less than 3 hours away from almost anywhere in the state. Lakes, rivers and streams seem to be everywhere. Snow comes early and stays late for great winter shooting. Mountains are scarce, and I regret that, but the mountains of NH and VT are not too far away. Anyone who says they have seen it all must have had their eyes shut or their lens cap on. There is far more than a lifetime of photo opportunities in the great state of Maine.
At what point did you get into wildlife photography? What percentage of your shooting entails wildlife? Did you have the necessary gear to handle such work before you got into it, or did you have to acquire things -- long-focal length lenses, filters, special tripods or monopods, weather-protection gear, etc.
I went after robins and squirrels on the lawn as soon as I had a camera. Wildlife photography has never been a profit center for me. It is a passion. Guessing, I would say 30% of my work is with wildlife. As to having the equipment, have you ever met photographers who had all the gear they needed? Or is that wanted? Umm. I built my system over the years to include what I felt was necessary. This meant buying and selling some items and keeping others for life.
Is there a certain kind of wildlife work you're most interested in? Birds? Exotics? Beasts? Insects, Reptiles? The African wild? What advice would you give someone who realizes they would like to do more of that kind of work but isn't sure how best to develop their skills? Would it help to be able to spend one or more outings with someone who is skilled at it?
I tend to photograph animals of all types. I suppose moose and deer would be my big game and insects would be my macro hunting.
Spending an outing with an experienced photographer isn’t going to get the job done. Study and experience are needed first. Learning how to read and anticipate nature is essential. A great wildlife photographer has either been a hunter or a naturalist.
I would suggest a quality course to start with and then an excellent workshop to follow it up. After that, I would hire a professional guide to get me off on the right foot if I am not familiar with an area, my subject, or the general needs of a photo expedition.
Are there any shoots in particular that stand out -- have a good anecdote or two? Any brushes with danger while out on a shoot?
I don’t recall any particular outstanding shoot, but I can tell you a lot that I learned the hard way.
* Alligators are faster on land that you might think.
* When a bull moose is swimming towards your canoe, don’t wait for the perfect shot, start paddling in the opposite direction, and do it quickly.
* Timber rattlesnakes are sometimes completely black. This is a good one to remember.
* If you have allergies, don’t belly down in poison oak, ivy, or sumac for that great macro shot.
* Cameras don’t float well.
* Insure your equipment with a special rider policy to cover it under working conditions as a photographer in the field.
* Swooping owls look like stealth aircraft up close.
* A deer or a moose pawing at the ground is telling you to vacate.
There are hundreds of these to tell whenever someone is interested in what not to do.
Have you spent much time pursuing your wildlife interests in Africa or South America or any continent outside of North America? How about in Canada? I realize that IS in North America, but since you're so close to it in Maine, I can't help but wonder if that is a natural destination for you.
I keep my feet on US soil.
You're a prolific writer and author. What has the photography book-writing side of your career been like? Isn't that time-consuming? To develop a topic, organize your thoughts, edit the text and collect, edit and output images? Do you have help with that? You've also written books about other subjects -- plumbing, real estate, land development and home building and remodeling, to name a few topics. Are any of those works more hugely popular than the others? You also maintain a regular blog online, right? How do you find time for it all?
My writing career has been a bit of a fast track. In one year, I wrote a total of 13 full-size books for major publishers. When it comes to making R. Dodge Woodson come to life, I normally do all of the manuscript work. Leona sometimes assists me in obtaining line drawings.
My pro reference books pay out the most royalties. A large percentage of my books are best-sellers and offered in various languages internationally.
The blog is related to World Photographers Organization. I also produce, design, and publish World Images Today (WIT), an online magazine. Samples of the magazine are available on the WPO home site.
The trick of putting extra sand in the hourglass is one that will remain a mystery. My doctor would not approve if I told you how many hours I work and how many I sleep.
As if you needed another diversion ... you recently launched a new global photographers' network, World Photographers Organization. There is a growing number of online photography networking groups -- photo.net, PictureSocial, Professional Photographers of America come to mind immediately. Talk to me a little bit about how you felt the WPO can distinguish itself from the others ... what it will offer that the others might not?
My life changed about this time last year when I nearly died 3 times in two months due to a rogue infection in my leg. It was while in the hospital that I decided to go public with WPO. Up until them, it was a tight-knit group of pros in Maine. Now it is worldwide and growing and growing, and growing some more.
World Photographers Organization not only can distinguish itself from others, it already has! Picture Social is a class act. I was a member prior to creating the WPO social site at WPO Press Room. Picture Social and similar sites are good for photographers, but they don’t go the extra mile that WPO does in helping their members, guiding people from the experience of established professionals, and offering direct publishing and money-making opportunities that are NOT pie in the sky. They are very real.
Professional Photographers of America (PPA) is a top-shelf organization, but it is very different from WPO. I have been a member of PPA. The last time I looked the annual dues were in excess of $300. WPO’s Premium Membership is only $139 a year and a Gold Membership is $195 a year. During my time as a member, PPA focused very heavily on wedding photography. This makes perfect sense in terms of earnings, but it leaves a lot of photographers wondering why they are getting the organization’s magazine. I have no interest in bashing any group of people. What we do with WPO is our vision, and everyone is entitled to their own choices of who they wish to join.
You ask how WPO is, or will be different. Here are my goals, beliefs, and thoughts:
WPO and WIT offer, or will offer, the following:
* What members ask for
* Paying freelance markets
* Behind-the-scenes information due to my unique positioning in the industry
* Places to get published now
* Press credentials
* Model consultant credentials
* An online portfolio on the WPO site
* Direct email contact with working pros to answer questions
* Extensive online resources
* Pro pointers on the WPO site and in World Images Today to help amateurs and professionals
* An open door for point-and-shooters to pros
* A non-judgmental environment
* Cyber friends and nearby photographers
* Unbiased reviews of products and services
* Rip-off Tip offs
* A listing in a searchable database so that customers can find you
* Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
* Photo contests
* Inside information on what makes editors and publishers tick from an expert publishing consultant
* Access to professional business consulting with Creative Consulting Inc.
* Photo industry updates
* Secure testimonials and endorsements
* Opportunity to see your work published in World Images Today
* Become a photojournalist for this worldwide media outlet
* 20% discount on courses and workshops offered by World Photographers Organization
* Certificates of recognition
* Access to Book Busters and Ready Reports
* Professional photo critiquing
* Annual subscription to WIT
* Archived articles to learn from
* Pro money-making suggestions
* An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
* Direct phone contact with R. Dodge Woodson for consultations
* Up to 5 free classified ads per month
This hits the high spots, and I think anyone will admit that no other club, organization, association, or group offers nearly as many features and benefits.
What's your vision for the WPO ... say, five years down the road?
I expect WPO to be a world leader in photography and related media work. WPO recently decided to accept graphic artists, book compositors, authors, writers, editors, proofreaders, indexers and other publishing professionals as members in both WPO and in the WPO Press Room. Down the road, I can see a World Media Professionals Organization to answer the needs of anyone from a major publisher to a freelance photographer a place to work with and for.
I ask a lot of my profile subjects whether they've ever had their work on display in galleries, and if not, whether they would like that some day? Given how much you've been published (and I presume that includes images in various photography and wider-scope magazines, periodicals and such), is this a moot question for you? If not, talk to me about any of the gallery displays you've been able to enjoy. And if you've had that privilege, what could you tell photographers who haven't reached that plateau about getting there?
I have never been a gallery guy. Even if I were not as well known and as heavily published as I am, hanging prints in a gallery wouldn’t do it for me. It’s the same thing with contests. When it comes to photography, I have a short list to please, and it is as follows:
* My code of integrity, honor and ethics
* My customer, if the photography is a paying job
* Myself, if the shoot is personal
* My subjects, whether it be moose or mushrooms in that I do no harm and that I do not alter nature for the sake of a marketable photo
To learn more about Dodge, his enterprises and the WPO, follow these links:
Dodge's Lone Wolf Enterprises
World Photographers Organization
Posted by Joe Konz at 11:30 AM 0 comments Links to this post
Labels: Dodge, home building, Lone Wolf Enterprises, plumbing, remodeling, spotlight, wildlife, Woodson, WPO
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Friday, December 11, 2009
Photo contest rules--No Entry Fee
We are having a friendly photo contest monthly at the WPO Press Room. The rules are as follows:
The place to enter WPO’s monthly competition where winners will be featured in WIT and get an inside front cover placement for their photo with full credit.
THESE ARE THE RULES
Photographers retain all rights to their photos and license the use of the photo to WPO for all uses related to WPO materials.
1. THE WINNER OF EACH MONTHS COMPETITION MUST AGREE FOR THEIR PHOTO TO BE PRINTED IN WIT MAGAZINE.
2. THE WINNER WILL BE REQUIRED TO SEND THEIR EMAIL ADDRESS TO DODGE SO HE CAN FORWARD AN INTERVIEW FORM TO THE WINNER TO FIND OUT HOW THE PHOTO SHOULD BE CREDITED. HE WILL ALSO INCLUDE A SHORT EMAIL INTERVIEW FOR THE FEATURE ARTICLE TO BE WRITTEN ABOUT THE WINNER.
3. IMAGES MUST BE IN JPG FORMAT, 72dpi. LARGEST DIMENSION SHOULD NOT EXCEED 1000.
4. EACH PERSON MAY ENTER TWO IMAGES ONLY.
5. YOU MAY POST YOUR ENTRIES AT ANY TIME DURING THE MONTH, BUT THEY MUST BE POSTED BY THE CLOSING DATE. THE DATE ON WHICH SUBMISSIONS WILL NO LONGER BE ACCEPTED WILL BE ANNOUNCED AT THE START OF EACH MONTH’S COMPETITION.
6. THE WINNER OF EACH MONTH GETS TO CHOOSE THE THEME FOR NEXT MONTH’S COMPETITION
7. ALL PHOTOS REQUIRE A TITLE.
8. ENTRIES MUST BE POSTED TO THIS GROUP ONLY.
BY ENTERING THE COMPETITION YOU ARE AGREEING TO THESE RULES.
Information contained in this work has been obtained by World Photographers Organization, Creative Consulting, Inc, Lone Wolf Enterprises, Ltd., authors, employees or freelancers of either company do not guarantee the accuracy or completeness of any information published by either company. World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company do not guarantee any work offered by either company to be free of any errors, omissions, or damages arising out of the use of the information. All work is published with the understanding that World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company are supplying information but are not attempting to render advice or professional services. Anyone requiring services or professional advice should seek such services and/or advice from qualified professionals who offer the advice or services being sought.
The place to enter WPO’s monthly competition where winners will be featured in WIT and get an inside front cover placement for their photo with full credit.
THESE ARE THE RULES
Photographers retain all rights to their photos and license the use of the photo to WPO for all uses related to WPO materials.
1. THE WINNER OF EACH MONTHS COMPETITION MUST AGREE FOR THEIR PHOTO TO BE PRINTED IN WIT MAGAZINE.
2. THE WINNER WILL BE REQUIRED TO SEND THEIR EMAIL ADDRESS TO DODGE SO HE CAN FORWARD AN INTERVIEW FORM TO THE WINNER TO FIND OUT HOW THE PHOTO SHOULD BE CREDITED. HE WILL ALSO INCLUDE A SHORT EMAIL INTERVIEW FOR THE FEATURE ARTICLE TO BE WRITTEN ABOUT THE WINNER.
3. IMAGES MUST BE IN JPG FORMAT, 72dpi. LARGEST DIMENSION SHOULD NOT EXCEED 1000.
4. EACH PERSON MAY ENTER TWO IMAGES ONLY.
5. YOU MAY POST YOUR ENTRIES AT ANY TIME DURING THE MONTH, BUT THEY MUST BE POSTED BY THE CLOSING DATE. THE DATE ON WHICH SUBMISSIONS WILL NO LONGER BE ACCEPTED WILL BE ANNOUNCED AT THE START OF EACH MONTH’S COMPETITION.
6. THE WINNER OF EACH MONTH GETS TO CHOOSE THE THEME FOR NEXT MONTH’S COMPETITION
7. ALL PHOTOS REQUIRE A TITLE.
8. ENTRIES MUST BE POSTED TO THIS GROUP ONLY.
BY ENTERING THE COMPETITION YOU ARE AGREEING TO THESE RULES.
Information contained in this work has been obtained by World Photographers Organization, Creative Consulting, Inc, Lone Wolf Enterprises, Ltd., authors, employees or freelancers of either company do not guarantee the accuracy or completeness of any information published by either company. World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company do not guarantee any work offered by either company to be free of any errors, omissions, or damages arising out of the use of the information. All work is published with the understanding that World Photographers Organization, Creative Consulting, Inc., Lone Wolf Enterprises, Ltd., authors, employees and freelancers of either company are supplying information but are not attempting to render advice or professional services. Anyone requiring services or professional advice should seek such services and/or advice from qualified professionals who offer the advice or services being sought.
World Images Today, the official online magazine of World Photographer's Organization is now available to the general public.
What Does World Images Today offer that you will not find in other photography magazines?
The following list answers this question. While some publications offer some of what World Images Today (WIT) does, I do not know of any that offer a full package like WIT does. Take a look and decide for yourself.
R. Dodge Woodson
Founder and Publisher
Here is what you get when you subscribe to World Images Today:
• An outstanding go-to-guide for photographers that up until now was available only to full members of the World Photographers Organization (WPO)
• This is your chance to subscribe to some very privileged information that was previously offered quietly only to Premium, Gold, and VIP members of WPO.
• There is very little advertising
• Average size ranges from 50-75 pages in length, with some editions running longer in 2010
• What subscribers ask for
• Paying freelance markets
• Behind-the-scenes information due to R. Dodge Woodson’s unique positioning in the industry
• Places to get published now
• Extensive online resources at the World Photographers Organization (WPO) site
• Pro pointers to help amateurs and professionals
• An open door to point-and-shooters to pros
• Unbiased reviews of products and services
• Rip-off Tip offs
• Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
• Photo contests
• Inside information on what makes editors and publishers tick from an expert publishing consultant
• Access to professional business consulting with Creative Consulting, Inc.
• Photo industry updates
• Opportunity to see your work published in World Images Today
• Become a photojournalist for this worldwide media outlet
• 20% discount on courses and workshops offered by World Photographers Organization
• Access to Book Busters and Ready Reports
• Professional photo critiquing
• Archived articles on the WPO site to learn from
• Pro money-making suggestions
• An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
• Up to 5 free classified ads per month
Okay, as you can see, World Images Today and World Photographers Organization bring you value-packed information at very affordable, below market, rates. We care about every photographer, regardless of your level of experience.
How much does a subscription cost?
Money is always an issue, and in our present economy it has become a very important element in making wise investments. The retail price of World Images Today is $8.95 per issue. When you consider all that you get, that is a very fair price, but I have a limited-time offer for you. And unlike scams and frauds, this really is a limited-time offer.
If you invest now in yourself and your photography by subscribing to World Images Today for 12 issues, plus the End-of-the-Year Extravaganza for 2010, you can get your monthly online edition of World Images today for only 12 cents a day! I am not kidding, and I am not done.
What can you get for 12 cents today? Forget the “dollar” meal. Focus on your photography and for only 12 cents a day, paid in the form of one payment for a 12-month subscription, you will get the following added bonuses:
1) 3 free pro critiques by the Ed Boards of WIT, WPO, and Lone Wolf Enterprises, Ltd.
2) A GUARANTEE of one photo chosen by the subscriber and approved by the publishing committee to be published as a WELCOME to the new subscriber in World Images Today
3) A 25% discount on either type of WPO membership purchased within 90 days of the date of your subscription
All of this for only $43.80
PayPal-Visa-M/C
It Doesn’t Get Any Better Than This.
Subscribe to World Images Today Now!
Makes a GREAT HOLIDAY GIFT!
The following list answers this question. While some publications offer some of what World Images Today (WIT) does, I do not know of any that offer a full package like WIT does. Take a look and decide for yourself.
R. Dodge Woodson
Founder and Publisher
Here is what you get when you subscribe to World Images Today:
• An outstanding go-to-guide for photographers that up until now was available only to full members of the World Photographers Organization (WPO)
• This is your chance to subscribe to some very privileged information that was previously offered quietly only to Premium, Gold, and VIP members of WPO.
• There is very little advertising
• Average size ranges from 50-75 pages in length, with some editions running longer in 2010
• What subscribers ask for
• Paying freelance markets
• Behind-the-scenes information due to R. Dodge Woodson’s unique positioning in the industry
• Places to get published now
• Extensive online resources at the World Photographers Organization (WPO) site
• Pro pointers to help amateurs and professionals
• An open door to point-and-shooters to pros
• Unbiased reviews of products and services
• Rip-off Tip offs
• Non-fiction writing advice and how to publish more pictures when you also provide words to go with them
• Photo contests
• Inside information on what makes editors and publishers tick from an expert publishing consultant
• Access to professional business consulting with Creative Consulting, Inc.
• Photo industry updates
• Opportunity to see your work published in World Images Today
• Become a photojournalist for this worldwide media outlet
• 20% discount on courses and workshops offered by World Photographers Organization
• Access to Book Busters and Ready Reports
• Professional photo critiquing
• Archived articles on the WPO site to learn from
• Pro money-making suggestions
• An open door to Lone Wolf Enterprises, Ltd. to propose a book that you will author
• Up to 5 free classified ads per month
Okay, as you can see, World Images Today and World Photographers Organization bring you value-packed information at very affordable, below market, rates. We care about every photographer, regardless of your level of experience.
How much does a subscription cost?
Money is always an issue, and in our present economy it has become a very important element in making wise investments. The retail price of World Images Today is $8.95 per issue. When you consider all that you get, that is a very fair price, but I have a limited-time offer for you. And unlike scams and frauds, this really is a limited-time offer.
If you invest now in yourself and your photography by subscribing to World Images Today for 12 issues, plus the End-of-the-Year Extravaganza for 2010, you can get your monthly online edition of World Images today for only 12 cents a day! I am not kidding, and I am not done.
What can you get for 12 cents today? Forget the “dollar” meal. Focus on your photography and for only 12 cents a day, paid in the form of one payment for a 12-month subscription, you will get the following added bonuses:
1) 3 free pro critiques by the Ed Boards of WIT, WPO, and Lone Wolf Enterprises, Ltd.
2) A GUARANTEE of one photo chosen by the subscriber and approved by the publishing committee to be published as a WELCOME to the new subscriber in World Images Today
3) A 25% discount on either type of WPO membership purchased within 90 days of the date of your subscription
All of this for only $43.80
PayPal-Visa-M/C
It Doesn’t Get Any Better Than This.
Subscribe to World Images Today Now!
Makes a GREAT HOLIDAY GIFT!
Laurin Rinder and R. Dodge Woodson
I was talking with famed photographer, Laurin Rinder on the phone today. We are discussing potential plans for Laurin and his team to come to Maine to present one of his internationally-known workshops. The event is not yet confirmed, but I will let you know when it is.
R. Dodge Woodson
R. Dodge Woodson
Monday, December 7, 2009
Online marketing
Mark Goodwin, the President of ArcWin Media has been a tremendous help to me as I venture deeper into Internet marketing. I have been in business since 1979 and consider myself fairly savvy when it comes to business matters, but I found that online marketing has a strong learning curve. Mark and his team can flatten the landscape and give customers a downhill run to the finish line. The team at ArcWinMedia is professional, knowledgeable, accessible, helpful, and most of all, trustworthy. On a scale of 1 to 10, with 10 being the best, I give ArcWinMedia a 10. Mark Goodwin goes above and beyond what should be expected of him, so he rates a rare 12.
Mark Goodwin - Pres.
2559 Webb Avenue, Suite 7
Delray Beach, FL 33444
Main: 561-948-4438
Direct: 561-922-3731
Fax: 561-892-5718
Mark@ArcWinMedia.com
www.ArcWinMedia.com
R. Dodge Woodson
Lone Wolf Enterprises, Ltd.
Creative Consulting, Inc.
World Photographers Organization
Mark Goodwin - Pres.
2559 Webb Avenue, Suite 7
Delray Beach, FL 33444
Main: 561-948-4438
Direct: 561-922-3731
Fax: 561-892-5718
Mark@ArcWinMedia.com
www.ArcWinMedia.com
R. Dodge Woodson
Lone Wolf Enterprises, Ltd.
Creative Consulting, Inc.
World Photographers Organization
Active Publishing Markets
Purpose: Our primary goal is to publish a lively and informative magazine that provides detailed and accurate coverage of all aspects of commercial fishing and the construction of commercial fishing boats.
We are a hybrid: We are a trade publication, but we are not the "nut-and-bolt monthly". The fishing industry has a very real pulse from the grass roots up and our readers expect material that is as lively as they are. Over the years, our ability to produce compelling, well-illustrated stories has to led us to great success on the newsstand.
If most of our readers are fishermen, we nonetheless have a sizable audience of academics, politicians, bureaucrats, sport fishermen, environmental advocates and armchair mariners. As a result, our features must be appealing and comprehensible to people who are interested in the fishing industry but who are not be directly involved in catching fish.
We try to accomplish this by publishing stories about people. Yes, there are boats and fish and regulators and nets and engines and all the rest, but they must be part of stories that are engaging, honest, and unpretentious accounts of the people, equipment, and events that make commercial fishing the exciting and very human business it is.
Features
Features usually run from 1,500 to 2,500 words. Basically, our front-of-the-book stories fit into one of these categories:
• At-sea Writer makes a trip on a fishing boat and comes home with story and pictures, including one of him/herself with the captain and crew. (2,000 words plus fact box)
•Profile Profiles can address individuals or communities. They should include at least one "vintage" photo, i.e., subject when he was young, town in days of old. The people do not need to be icons of the industry and the community doesn't have to be a top-10 port. If you're interested in someone or someplace and write well, we'll be interested too. (1,500 to 2,000 words)
•History History pieces are akin to profiles, with a greater emphasis placed on the subject's evolution. A history piece can focus on a boat or a dock, though, as well as a community or fishery. (1,500 to 2,000 words)
•Analysis Our analysis stories look at current events in the fishing world. Warning: We look for subjects of interest to a national readership, which generally means writers must pitch stories that would interest fishermen from coast to coast, and they elicit comment from sources around the country. Grass-roots looks at local management issues are unlikely to cut it for us. (1,500 to 2,500 words) Other areas of interest for analytical features:
•The business of fishing Given what they're given, how can fishermen use efficiency, ingenuity or market savvy to make more money.
•The science of fishing Habitat and weather issues come to mind.
We are not interested in sport fishing (with the exception of articles on conflicts between sport and commercial fishermen), pleasure boats, cruising stories, pleasure boat equipment, or boat racing.
Last, but by no means least: My job as editor is to find a way to get good stories into the magazine, not keep them out. If you have a good idea that you don't think fits any of these categories, think again. Figuring out what would it take to make it fit could be the difference between getting an assignment and not getting one.
In any event, query us first (Senior Editor Linc Bedrosian at lbedrosian@divcom.com or Editor in Chief Jerry Fraser at jfraser@divcom.com , and read several issues of the magazine before you try to pitch a feature-length story.
Boats & Gear stories
Articles in the Boats & Gear section are about boats and equipment used by commercial fishermen, not charter-boat, workboat (tugs, ferries, etc.) or pleasure-boat owners. Though the readership is a professional audience that usually has owned more than one boat and has spent several years on the water, the article shouldn't read like it was written for a technical journal. Take the story elements and weave them into a narrative with local color, history and anecdotes thrown in to keep the story moving.
A boatbuilding story includes design information, construction details on how the boat was build, important equipment, something on the owner and builder, and a mention of the fisheries the boat is being built for.
Gear stories cover any of the equipment that a fishing boat utilizes. It might be sonars, gillnet haulers, trawl design, or developments in diesel engines. If it can go on a fishing boat - any kind or size of fishing boat - it's eligible.
But no matter how good your writing is, we need photographs and illustrations. So, think about how you can take photographs - with people in them - that explain the article.
Please query Michael Crowley, Boats & Gear editor at mscrowley@gwi.net.
Front of the book
The "Around the Coasts" section in the front of the book is a new writer's best chance to break into National Fisherman.
Each month we run about 20 "ATCs," which are commercial fishing news briefs from across the country (including the Great Lakes). Remember, though, that we are a monthly with a fairly long production cycle so breathless news leads aren't we're looking for. Ideally, we want briefs with a news element and that have a "voice" or a "take" on the news. Quotes are essential. Tip one: Read some ATCs. Tip 2: Consider the definition of an ATC as 250 words. If the story absolutely positive must be longer, pitch it as a feature or forget about it. Nor do we want anything shorter. Please query Senior Editor Linc Bedrosian, lbedrosian@divcom.com , before submitting material.
Artwork
If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC. For more information, please see the photgraphers guidelines.
Handling of submissions:
E-mailed submissions are best. I recommend that you attach your document to an e-mail, as well as paste it into the body of the e-mail. You should consider floppy disks as a last resort, but if that's all you've got, send it - along with a clean, hard copy. (Manuscripts that are typed should be double-spaced with I-inch-minimum margins. Do not use erasable typing paper and please don 't type over errors that have been covered with liquid or paper whiteout. If you choose to send us a photocopy of a story, please make sure that the reproduction is of good clear quality.)
Please don't fax submissions to us as we do not have the time to retype.
We try to acknowledge all editorial submissions as soon as possible, but don't worry if you don't hear right away. Material does pile up at certain times each month, especially when we are on deadline. Payment is generally made upon publication unless otherwise arranged.
National Fisherman buys first and limited reprint rights to all copy and accompanying photographs. Limited reprint rights permit us to approve the occasional request from a company or nonprofit institution to reprint an article. These rights in no way interfere with the author's ability to sell an article to another publication after it has appeared in National Fisherman.
We frequently find ourselves with a backlog of material on hand and competition for the available editorial space can be fierce. It's always a good idea to query us before submitting a story. Usually we can give you a fairly good idea of the article's chances of running in a given issue.
Some Important Points
Use your imagination when thinking up story ideas, but not when preparing facts. Be absolutely sure of what you re writing. Double-check the spelling of all names as well as technical information. No matter how well a story is written, its credibility - and its chances of being published - rest on its accuracy.
Unless you're reporting on an event that clearly occurred in the past, try to use present tense. This makes a story more dynamic. Also use the active rather than the passive voice. ("I caught the fish," instead of "The fish was caught by me.")
Unless other arrangements have been made, send all feature submissions to jfraser@divcom.com , all Boat & Gear submissions to Michael Crowley at msc@acadia.net , and all ATCs to lbedrosian@divcom.com .
Finally, please let us know how you'd like your name to appear in a byline. You might also send along a brief outline describing your background as a writer and your involvement in any other activities that relate to your area of expertise.
Don't hesitate to ask us for help if you have any questions about our requirements or editorial style. We'll be happy to help in any way we can.
Jerry Fraser
Editor in Chief
________________________________________
Photographer's Guidelines
If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC.
All photos should be marked with a credit line and should include the sender's full mailing address. Captions are required for all submitted photographs. The best way to provide this information is to type out each caption on a separate piece of paper and index it to the appropriate photo. (If you're submitting prints, do not write on the backs of photos with grease pencils or felt-tipped pens. Grease pencil invariably smears and ink from felt-tipped pens is readily transferred to the faces of photos that are stacked for mailing.)
We generally prefer color slides taken on 100 speed Elite Chrome or equivalent film, although film shot with medium- or large-format cameras also works for us.
Please send duplicates when possible because of the risk of losing originals during shipping.
Digital Images:
Scanned images can be e-mailed or sent on Zip disk or CD to art director Jennifer Finn at the address below. Images should be at least 300 DPI (resolution) at 100% of final print size. Final print size varies. 5X7 images will meet most magazine layout criteria. Images from many digital cameras do not meet these criteria or have a final print size about that of a postage stamp and low resolution. Scanned images are preferred, in jpeg, tiff or eps format. If you cannot tell if your image meets the criteria, don't hesitate to call.
Jennifer Finn, Art Director
National Fisherman
121 Free St.
Portland, ME 04101
207-842-5669
jfinn@divcom.com
BIRD TALK Photographer's Guidelines
Guidelines for submitting photos to BIRD TALK magazine
Updated: June 2, 2008, 2 p.m. EDT
Thank you for your interest. BIRD TALK magazine is dedicated to better care for pet birds. All bird photos are of exotic birds available in aviculture today. We avoid using photos of hybrid birds. We also seldom show mutations, unless they are of a species known for mutations (budgies, canaries, etc.), the mutation is quite popular, or the article is about the mutation.
The following guidelines will help you understand what we’re looking for when choosing photos for BIRD TALK magazine, and assist you in making submissions with the highest probability of acceptance.
GENERAL GUIDELINES
• All photos must be labeled with the correct bird species and photographer’s name. A unique ID number for each photo also helps with contracting.
• Digital images are the preferred format, though we will accept transparencies and slides and we can also use exceptional print photos
• Digital images must be high-resolution, 300 dpi and at least 3 by 5 inches to be considered for publication
• All photos must have the entire bird in focus (unless you’re trying for an artistic effect)
• Lighting should be even, with no dark shadows behind subjects
• The bird’s image should dominate the photo when it’s a portrait-type shot – do not permit a lot of space around the bird
• All birds should be looking at the camera, unless they are playing or involved in an activity
• Be aware of the background (see section on backgrounds below)
• Frame the photo so that the bird is cropped properly (do not cut off the tail when shooting a full-body shot, zoom in on only head when shooting a head shot, etc.)
• Be sure that all subjects are well-groomed (both bird and people)
• Be sure that if a bird is shown on its perch, the perch is the proper size for the bird
• Birds should be interactive – this is hard to describe in words. We want photos that show a bird’s personality. We want to avoid the typical bird-on-a-stick look. If a bird’s head is cocked or its foot is up or it’s looking at the camera like it’s a toy it really wants – that’s what we’re seeking.
• Try for different angles, instead of the usual “head-on” shot; have the camera above or below the bird (note: avoid strange side angles like in a Hitchcock film – it’s too distracting)
We encourage photos of owners with their birds. We need photos of birds in their home environments involved in their daily activities: chewing, climbing, bathing, eating, preening, interacting with people and other birds, looking into mirrors, holding items in their feet, talking, screaming and even biting. For species profile articles, we need attractive portraits of birds.
We also need: pictures of birds visiting the vet and the exam process, grooming photos (Be certain that if wings are being trimmed, it is done correctly, with the wings held in such a manner that the bird is not at risk), etc.
BACKGROUNDS
• Please make sure that any plant shown in a photo with a bird is safe for birds and identify the plant.
• Be sure that the background color contrasts with the color of the bird.
• Please be sure that the background is slightly out of focus so that it doesn’t compete with the image of the bird.
• If furniture appears in the photo, please ensure that it is does not look out-of-date or well-used.
• Avoid clutter
COVER PHOTOS
For cover shots, it is no longer necessary to leave space at the top for our logo. All cover shots now have the background knocked out. Our main concern with cover shots is that the bird be in focus, the lighting be good, the bird be well-groomed and, perhaps most important, the bird be looking at the camera and be interactive (head tilted, foot raised, great expression on face – something to show the bird has personality).
ACCEPTANCE & PAYMENT
Upon accepting a photo (be sure you label each one with a unique identifying number, the species of bird in the photo, and your name and address), we will send you a contract containing the acceptable photos’ numbers and hold these pictures in our files for possible future use. We do not accept submissions in which the subject is not correctly identified. Please include any “courtesy of” information, if needed, on the submission.
If a photo is used, payment is made during the latter part of the cover issue month in which the photo appeared. (A photo used in the June issue will be paid for in June.)
Payment rates are as follows:
- $250 for 4-color cover shots and 2-pp poster $50 for black and white, full page
- $125 for 4-color, full page $40 for black and white, 3/4 page
- $100 for 4-color, 1/2 page $20 for black and white, 1/4 page
- $75 for 4-color, 1/4 page
- $10 for 4-color, second-use in TOC
*Use of black and white photos is rare; however, we reserve the right to convert any color submission to a black-and-white photo in the magazine.
We do our best to return used slides in a timely manner but, because of our small staff and constant deadlines, some delays may occur. Your patience is appreciated.
Please include an inventory list, model releases (if applicable) and a self-addressed, stamped envelope with your submission. We cannot return your submission without a self-addressed, stamped envelope. We do not work with photographers who charge holding fees. After we receive your submission, allow at least eight weeks for a response.
Please send your submissions to either of the following addresses:
BIRD TALK Photo Editor
P.O. Box 6050
Mission Viejo, CA 92690 or BIRD TALK Photo Editor
3 Burroughs
Irvine, CA 92618
We will also consider your material for our sister publication, BIRDS USA, unless you indicate otherwise.
Submission Guidelines for Defenders Magazine
Defenders magazine is published quarterly for the membership of Defenders of Wildlife, a national nonprofit organization devoted to wildlife conservation. Defenders has a circulation of about 350,000. Content reflects the organization’s dedication to endangered species, public lands, habitat preservation, biodiversity conservation, the international wildlife trade and related subjects.
Issues contain a mix of full-length features as well as shorter departments and an organizational "newsletter." Most content features North American wildlife, although we occasionally focus on international issues. We emphasize current threats to wild species and habitat, worthwhile action to save wildlife and informed discussions of government programs and policies.
Please familiarize yourself with the scope of Defenders of Wildlife’s work prior to submitting a query. You may browse our website or request a back copy of the magazine by sending a SASE to the address below.
Process for Article Submissions
Query first! Include a brief description of your background, qualifications and how your ideas relate to the mission and work of Defenders of Wildlife. Most of our articles are assigned following a query. Please include two or three previously published general interest articles.
We do not accept fiction or poetry and rarely use essays. We do not accept previously published work submitted either by author or publisher. Proposals and manuscripts submitted simultaneously to other publications are not acceptable.
Length and Format
Department stories run from 500-800 words, features from 1,200-2,000 words.
We do not want encyclopedia extracts or scientific manuscripts. Content is directed to a general audience but we seek to maintain a high literary, reportorial and graphic standard. Scientific and grammatical accuracy is essential so please carefully edit all submissions.
For time and paper’s sake, we prefer email correspondence. For written correspondence, please include a SASE. We accept no responsibility for unsolicited submissions.
Contact and Submission Information
Submissions Editor
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
mageditor@defenders.org
Process for Photo Submissions
Defenders accepts submissions of photographs of endangered wildlife and habitat. Submissions should be emailed to photobuyer@defenders.org. Attachments must be low resolution jpegs totaling no more than 1 MB in size per e-mail. A link to a viewing platform may also be submitted. Please provide detailed information on the subject matter of the photographs when submitting. Defenders accepts no responsibility for unsolicited photos or artwork; materials sent via mail or other delivery services will be returned only if accompanied by proper postage.
Contact and Submission Information
Photo Buyer
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
Email: photobuyer@defenders.org
How to Submit Articles and Photographs to Florida Wildlife
Submissions
We prefer to purchase first-time, one-time rights to manuscripts and photographs. If submissions are being considered by other publishers, please notify us of this fact. Articles, artwork and photographs may appear on the Florida Wildlife Web site.
Submissions are on speculation. Florida Wildlife reserves the right to use either all or part of your submission and to edit for content and/or size. Proper credit is given to authors, writers and photographers. Queries will be answered as time permits. Self-addressed return envelopes with sufficient postage should accompany all submissions you wish returned.
Writers' Guidelines
Florida Wildlife is looking for well-written and exciting Florida fishing, hunting and nature-based recreation stories. These stories should emphasize the appreciation of the overall outdoor experience and not focus solely on the taking of game. Stories should also reflect the concern hunters, anglers and other outdoor enthusiasts have about conserving wildlife and the habitat.
Typed manuscripts of 300 to 1,000 words may be submitted via e-mail, computer disc or in hard copy format. We prefer that electronic copy be composed in MS Word, but will accept other formats. The first page should include the writer's name, address, telephone number and e-mail address. Poetry and handwritten manuscripts will not be considered for publication.
Manuscripts that include photographs or artwork are more likely to be considered for publication. Include the photographer's name, address, telephone number and e-mail address (if not the same as the writer's) and a description of the action, person or place pictured.
We are looking for:
• Freshwater and saltwater fishing articles.
• Hunting and hunting-related stories.
• Articles about outdoor activities such as tracking, diving, boating, hiking, wildlife watching, etc.
• How-to articles with tips and techniques for both beginners and experienced enthusiasts.
Tips & Techniques
• Be sure to include who, what, where, when, why and how in your story.
• Maintain a tight focus on your subject matter.
• Write in the active voice, not the passive voice. An example - Passive: Three suspects were arrested by wildlife officers. Active: Wildlife officers arrested three suspects.
• Use present tense when possible.
• Use quotes and attribute them accurately. Quotes add to the reliability of a story.
• Include sidebar information such as where to get additional information, the best place(s) to participate in the activity, how-to tips, how family members may join in or how they may participate in complimentary activities, etc.
• Thoroughly research your story—use at least four sources. Include a wide range of perspectives to give your story depth and balance.
• When citing research, be specific but avoid being pedantic. Readers want to know what the point of the research was, what was learned and what it implies for them, wildlife and the management of resources. Remember, Florida Wildlife is not a technical journal for researchers.
• Avoid anthropomorphism -- attributing human feelings or thoughts to animals.
Photographers' Guidelines
Florida Wildlife has a long history of showcasing outstanding and award-winning photography and artwork. In order to continue this tradition, only extremely sharp, in-focus and well-lit photographs are considered for publication. We prefer high-resolution scans rather than film to avoid damage to or loss of original work. Low-resolution images enlarged via a computer program and other obviously retouched images will not be considered. We cannot accept soft-focused or blurred images.
When taking photographs which include people, look for shots illustrating that everyone enjoys outdoor activities—young and old, male and female, able bodied and disabled and those from various cultural backgrounds. Take advantage of naturally occurring shots—set-up shots are easily identified as such.
Each image submitted, whether digital, transparency or glossy print, should be labeled with the photographer's name and a number. The number should correspond with a separate caption sheet. The caption sheet should describe the action, place and/or person pictured. Include the name, address, telephone number and e-mail address of the photographer.
Images may be cropped, rotated, flipped or otherwise edited by a graphic artist to suit the magazine's style or to fit in available space.
We accept:
• High-resolution digital images, at least 300dpi and 2M-15M. If e-mailed, larger files should be sent singly and as JPEGs. If submitted via CD, images may be JPEG, TIFF or EPS.
• 35mm or larger first-generation slides or negatives.
• High quality color prints, preferably 8x10.
All images should:
• Be shot in Florida or illustrate species living in Florida.
• Portray hunting, fishing and all other activities conforming to Florida's legal regulations, safety practices and to high ethical standards.
• If the photograph is taken on a boat or dock, any people in the photograph should be pictured wearing personal flotation devices.
Other Policies
All submissions are on speculation, and payment is made upon publication. Payment varies, depending on length, complexity and quality. In general, we pay $50 for each photograph (up to $200 for a front cover) and $75-$250 for articles.
Materials will be handled carefully, but due to the risk of mailing and shipping, Florida Wildlife and its agents will not be responsible for damage or loss of submitted material.
Stories and photographs will not be accepted for publication if they:
• Refer to alcohol or tobacco products.
• Use profanity or picture profane printed products such as explicit t-shirts.
• Advertise or promote a business or product.
• Fail to show respect for the game being taken and/or contain overly graphic details of the harvest.
• Are strictly "trophy" in content—pictures of a sportsperson with harvest or "how I got my biggest . . ."stories.
Deadlines
Publication Speculation Submission Deadline Assigned Article Deadline
January/February July 15 September 1
March/April September 15 November 1
May/June November 15 January 1
July/August January 15 March 1
September/October March 15 May 1
November/December May 15 July 1
Mail address: Editor, Florida Wildlife, 620 S. Meridian St., Tallahassee, FL 32399-1600
E-mail: floridawildlife@MyFWC.com
Fax: 850-488-8974
Phone: 850-410-4944 or 1-800-416-4081
The Horse is a monthly magazine devoted to equine health care. The publication focuses on educational topics and news and is geared towards the professional, hands-on horse owner.
The Horse pays on acceptance. Writers should submit a resume and samples of their writing before submitting a manuscript, and including an e-mail address will expedite our response to you. Query letters or complete manuscripts will be reviewed after this process. The Horse will not accept unsolicited manuscripts. A byline is given and acceptance for publication includes first rights and online rights unless otherwise agreed upon.
The Horse prefers "how-to topics," technical topics, and topical interviews. It accepts no first-person experiences except from professionals--this is a technical magazine to inform horse owners.
Clips (writing samples) should ideally show an ability to organize technical information to maximize the understanding and education of the reader, as well as a smooth, correct writing style.
If you have a specific article topic in mind, save yourself some trouble by first checking to make sure we have not done an article on the topic recently, and do not already have one assigned on it in the near future. You can check recent issues (by issue or via a topical search) and our calendar of upcoming topics.
Articles range from short news items at 250 words to 4,000 word cover stories; payments vary depending on length of article.
If photos are to be submitted with a submission, please do not send originals. The Horse is not responsible for unsolicited, lost, or damaged images. Please see the complete Photography Guidelines below.
Contact:
The Horse: Your Guide To Equine Health Care
Kimberly Brown
Editor-in-Chief/Publisher
PO Box 919003
Lexington, KY 40591-9003
kbrown@TheHorse.com
**Please see our writer's style guidelines as well.
Photography Guidelines
-View 2009 Photo Needs Now!
Magazine Needs: About 40 photos/issue; 20-30 supplied by freelancers. Contracts required. Captions preferred. Published work ok. Buys one-time rights. Payment based on photo size and use ($35 for online usage; $40 for less than 1/4 page; $70 for 1/4 page to less than a full page; $90 for a full page; $120 for a spread; $350 for cover). Please do not send originals. The Horse is not responsible for unsolicited, lost or damaged images.
SUBMISSIONS
For digital images:
• Please do not submit low resolution files. All pictures submitted to The Horse must be at least 300 dpi at a 4 x 6 inches.
• Take the time to fill in properties (metadata) on your photos. (Even when they are e-mailed, because it is very hard to sort the images and file them for appropriate use.) This is mandatory for all digital photos submitted. Even though this is time consuming, please at least put your name and a few (1-3) general keywords (ie. eating grass, flies, water, farrier, etc.). All basic photo software has this capability. This will help ensure that you receive proper photo credit and payment.
• Please do not send CDs with locked images. For our purposes, we do change the name of the photos when they are filed into our system. However, properties on photos do not change even when photos are renamed. So, please put your name in the properties for all submitted photos.
• If you are having trouble e-mailing images, it is most likely because your files are just too large. If you are sending very large files, you can upload them to the FTP site ftp://production:pogo051@ftp.bloodhorse.com Please e-mail Megan Arszman (marszman@thehorse.com) for more information.
For slides and photographs:
• Please do not submit without discussing with the Photo Editor. Photographs and/or slides that are received will be handled carefully, but we are not responsible for their safety or return. Do not submit original photographs or slides. All submissions of slides and photographs must be issue-specific. We just do not have the room to keep stock slides or photographs. So please try to submit stock photos in a digital format.
When you are published in The Horse:
If you are published in The Horse, we will send you a PDF file of the page of the magazine with your image on it upon your request.
Photo Needs:
Photo needs can be viewed at the following link:
http://www.thehorse.com/ViewArticle.aspx?ID=1405
(Or you can just type in 1405 in the article search from the homepage).
If you would like to look ahead, and send future images (which we would love because we are really trying to get things in sooner and work further ahead) please take a look at our editorial calendar. (Which is accessible from the homepage.) http://www.thehorse.com/MediaKit/pr_edit_calendar.asp
Final Tips:
• Only high-quality, professional images will be accepted. No blurry shots please unless they are blurred to show motion of the horse. Make sure photos are not too dark for reproduction. Check that dark horses do not blend into dark backgrounds and white horses do not fade into a light background. Backgrounds are always important. Ask yourself if the focus of the photo is on a cluttered background or on the subject of the photo. Also, colorful images will grab attention of those lacking color. Keep this in mind while shooting.
• It is recommended that you send in samples of your work if you have not worked with us before. If the photos are deemed acceptable based on the criteria above, a photo needs list will be provided.
• Interaction shots are always needed--horses with people, horses with horses, owners and veterinarians, owners and farriers.
• Also needed are photos of a horse with an actual illness or injury (i.e. equine herpesvirus, colic, narcolepsy, etc.)
• We tend to use seasonal shots to correspond with the issue (such as winter shots for winter issues), so images for the winter issues might need to be shot way in advance. Plan ahead.
• Please put your name on every photo or slide; this will help us get them back to you.
• Please keep us updated as to your contact information (including a mailing address, shipping address for the return of photos, phone, e-mail, and a web site if applicable). This is so we can make sure payment, magazines, and photos go to the right place and also allow us to get in contact with you if any unexpected photo needs arise.
• Please observe all deadlines listed if sending in for a specific issue.
• Please call Megan Arszman at 859/276-6833 or email her at marszman@thehorse.com if you have any questions.
• View the Photo Needs list periodically for updates.
***Please include your name and 1-3 keywords on every digital photo submitted!***
Contact:
The Horse: Your Guide To Equine Health Care
Megan Arszman
Photo and Newsletter Editor
PO Box 919003
Lexington, KY 40591-9003
marszman@thehorse.com
AUTHOR'S GUIDELINE
A note from the Editor
Dear Prospective PT Contributor:
Thanks for inquiring about the submission guidelines for PHOTO Techniques magazine. We’re perhaps the most technical photography magazine on the newsstand, and cover both traditional and digital photography. Our readership is comprised of advanced amateurs and working professionals. As the name implies, many of our articles focus on the techniques that help produce exceptional photographs. We also focus on the science of photography. We’ve closely examined, for instance, the numbers behind the superiority of 16-bit imaging, and the techniques behind the manipulation of light, the interaction of photochemicals, and useful tips for processing and printing photographs. Many of our articles have featured experiments that readers can perform at home and duplicate the results for themselves.
Many of our readers are students of the Zone System, created by photographer Ansel Adams and others. Many are well-versed in Adams’ work and teachings, and several contributing editors specifically address the Zone System on an ongoing basis. Many readers are largely or solely digital. Articles on digital photography should cover the hows and whys of some aspect of the process of creating quality digital prints, rather than illustrating what one can do with various wacky Photoshop filters. Our readers also enjoy technical articles, scientific tests and guides that we present. “How-to” articles backed by concrete examples and good photographs are always welcome.
Before you submit, we ask that you first pick up an issue or two to get a good feeling for the magazine’s content. You’ll see that most of our published photographs appear in stories about using a given photographic technique, so article ideas (or a full article, if you’ve written it) generally should accompany submitted photographs. Photographs with no article idea can only appear in our portfolio section, which makes the odds of selection long (portfolios will need an accompanying essay, in any case, if they are chosen).
Portfolios
We’re always looking for interesting images for our cover or portfolio section. Having said that, we publish only six portfolios, six covers, and less than a handful of “one-pagers” each year—and half of those are solicited privately. As with other photography magazines, the odds are long. We say this not to discourage submissions, but so that potential contributors will realize that this is not a contest: acceptance or rejection of your work is a judgment not of its ultimate quality or merit but merely of its suitability to our current needs.
We need images that go together well. Portfolios which try to show the range and adaptability of the photographer by including disparate types of standard pictures are unlikely to be accepted. Think of a one-person gallery show—most offer bodies of work on a theme or two, not random assortments of “this and that.” The exception to this is if you choose to send two groups of pictures, different from each other but each internally coherent.
To be chosen, work must go beyond competence; generic work in any category isn’t interesting. For instance, we get many, many portfolios of landscapes that aphotographer shot while on vacation, so before sending in images of waterfalls or Monument Valley, ask yourself whether the images truly show a fresh view of an often-depicted subject or whether you’re better off covering less crowded territory. No subject matter is excluded, but work that diverges radically from the norms of public taste begins with a strike against it.
We pay $400 for a four page portfolio (usually four to eight images), plus we can provide extra copies of the issue in which your work appears.
Submitting
Work must be original and not previously published. Please include your e-mail address, and home and work telephone numbers on both your manuscript and illustrations. Upon acceptance, we’ll first edit and lay out the article, then fax it to you to check for errors. Articles generally pay $100 per published magazine page.
You can send text and images via e-mail attachments. (Please, however, do not imbed your graphics into your Word documents.) Send your work to: jgordon@phototechmag.com
If sending text and images via U.S. Mail, include a disk with your article in Microsoft Word format. Items submitted via U.S. Mail must be accompanied by a return envelope (and packing) with return postage. Please package your work well, and ensure that it is easy to handle and re-package.
Text: Articles should be less than 2,500 words. Text should be submitted in double-spaced format. Please include any diagrams, illustrations or photos to be used with the article, along with captions. Captions should include type of camera used, type of film and any other technical information—including camera settings, how you processed it, type of developer, type of paper, etc.
Images: Send 8–20 prints; 8x10s are best; anything larger than 11x14 is strongly discouraged—they’re difficult logistically and hard to scan. If sending slides please enclose between 15-25 images for us to review, along a description of what’s in the photographs, where you shot them, the type of camera/lens set-up used, and type of film. Slides should be good dupes: DO NOT send valuable or irreplaceable originals without specific consent. Please indicate if digital images are comprised of more than one “negative.”
You can also send photos as JPEGs attached to e-mail, not totalling more than about 1 MB. Please send no more than 10 at a time, and the absolute minimum size 320x240 pixels (640x480 is better) so that we can see all the fabulous detail in your images. You can burn images (as JPEGs or TIFFs) onto a CD and mail it (a good option for sending more or high-resolution images).
A Division of Preston Industries, Inc.
6600 W. Touhy Ave., Niles, IL 60714-4516 U.S.A.
Phone 847.647.2900 | Fax 847.647.1155
Writers' Guidelines
Caribbean Travel & Life is in its 20th year of providing stories and photos about our fascinating region. Potential writers for the magazine must understand that our audience is made up of upscale, sophisticated and experienced Caribbean travelers who visit the region repeatedly. Therefore, our readers look to CT&L to guide them to new and interesting places to visit and to present the many facets of Caribbean culture.
The editors of CT&L are always open to ideas from writers. Our only requirements are that the writing be superb, the subject be something unique and interesting, and the writer must know his/her material. To understand what kind of stories we buy, read the magazine. We do NOT run generalized travelogues, guidebook-like island profiles, or standard stories about well-known, over-publicized or commonly visited places. Our readers demand behind-the-scenes stories, off-the-beaten-path destinations and ahead-of-the-curve knowledge about the Caribbean.
Most of the major features in CT&L are assigned to staff or to writers with whose work we are familiar. New writers will have better success starting off in one of our departments. Always keep in mind that the availability of good photographs to illustrate a story is essential.
TO SUBMIT
To submit a query, send a brief email to Dave Herndon, Editor, Caribbean Travel & Life, editor@caribbeantravelmag.com. Please do not call and do not send a complete manuscript unless requested.
Photography Guidelines
Sierra, the magazine of the Sierra Club, publishes photographs pertaining to the natural world and the environment. We use high-quality, mostly color photographs and prefer digital files.
Photographers interested in submitting work to Sierra are encouraged to send a link to their Web site, along with a stock listing of regions and subjects of specialty for us to review. Please do not send unsolicited transparencies and prints. We do not have the staff to review them or ensure their safe return.
We review photographers' stock lists (subject matter and locations in photographs) and samples and keep the names of potential contributors on file. Photographers are contacted only when subjects they have in stock are needed. We typically do not post our photo-needs list online or elsewhere.
Sierra does not accept responsibility for lost or damaged transparencies sent on spec or for portfolio review.
Please e-mail Photo.Submissions@sierraclub.org. Thank you for your interest in contributing to Sierra.
Submission Guidelines for Writers and Photographers
About Us:Yankee Magazine covers the six New England states of Connecticut, Massachusetts, Maine, New Hampshire, Rhode Island, and Vermont. Our Feature articles, as well as the departments of Home, Food, and Travel, reflect what is happening currently in the region. Writers interested in working with us should read several current issues of Yankee before querying us or sending an unsolicited manuscript.
Also read editor Mel Allen's 5 Best, Surefire Ways to Break Into Yankee.
Stories or Queries:Yankee welcomes freelance submissions in the areas of home, travel, food, and non-fiction editorial. We are not currently accepting poetry, fiction, or cartoons. Both manuscripts and queries should include a small collection of clips of your other work. Manuscripts should additionally be accompanied with a short cover letter.
If submitting by the U.S. mail, please include a SASE with sufficient postage for both a reply and your materials to be returned to you. We reply as quickly as possible, but please allow at least five weeks. All material should be sent to the attention of Justin Shatwell.
Yankee buys all rights to stories it purchases. Payment is made on acceptance of the article by the assignment editor and with the writer's submitted invoice.
Justin Shatwell
Yankee Magazine
PO Box 520
Dublin, NH 03444
editors@yankeepub.com
Photography and Art: We give assignments to experienced professionals. If you want to work with us, show us a portfolio of your best work. Contact our Photo Editor, Heather Marcus, before sending any photography to our Art Department. Please do not send any unsolicited original photography or artwork.
Heather Marcus
603-563-8118, ext. 192
heatherm@yankeepub.com
Submissions
Photo Submission Guidelines
>> View Digital Submissions Guidelines PDF
>> Download Photo Delivery Receipt
Thank you for your inquiry regarding photography in Arizona Highways. Although the magazine and our Related Products (calendars, books, cards, etc.) are all planned many months ahead, we welcome photographic submissions of original transparencies, 35mm slides and high-resolution digital files that exhibit the high quality that we demand from our professional contributors.
In order to achieve the high-quality reproductions in our publications, we prefer large format (4x5) transparencies, especially for the large scenic landscapes for Arizona Highways is famous. We will use medium format and 35mm transparencies that display exceptional quality and content. Digital files must be prepared according to our Digital Photography Guidelines (see our Web site to download a copy) and burned to a disk. Some subjects such as wildlife and people are best suited to smaller formats and digital SLRs, but in order to achieve high-quality reproductions they must be shot on fine-grained color slide film (100 ISO or slower) or digitally captured at low ISOs in RAW. Edit your photos carefully before submitting. More is not necessarily better. Submit only the images that are as good or better than those you see in our magazine, books, and calendars. Midday light is the worst for photography of any kind, but especially bad for landscape photography. Be original and creative in your composition and approach to common subjects, and avoid visual clichés like saguaro silhouettes at sunset.
Each photographic submission must be accompanied by a completed Arizona Highways Photo Delivery Receipt (PDR) signed and dated by the photographer. To obtain a PDR, visit the Arizona Highways Web site to download a copy to fill out and enclose with your submission. We may hold images that meet quality standards and suit current subject needs. All rejects will be returned promptly.
For protection and ease of viewing by the editors, please use slide file pages and clear acetate sleeves on all transparencies and slides. Each photograph submitted must be clearly labeled with the photographer’s name and detailed caption information printed on the transparency mount. This includes names of people, landmarks, and locations and positive identification of all plants and animals.
THE EDITORS WILL NOT REVIEW PHOTOGRAPHY THAT IS SUBMITTED WITHOUT THE PHOTOGRAPHER’S NAME AND CONTACT INFORMATION ON EACH AND EVERY TRANSPARENCY MOUNT. IF HIGH RESOLUTION DIGITAL FILES ARE BEING SUBMITTED, USE FILE METADATA TO INCLUDE CAPTION AND COPYRIGHT INFORMATION.
Nearly all photographs used in our publications are purchased from free-lance photographers. One-time publication rights are purchased, and all other rights remain with the photographer. All transparencies are returned after use. For digital submissions, disks containing digital files will be destroyed after use. We prefer that photographers in the Phoenix metro area drop off and pick up their photography at our offices. Long distance submissions should be sent by US Mail Certified or private express courier service. Return postage will be paid by Arizona Highways.
Mail submissions to:
Photography Editor
Arizona Highways Magazine
2039 W. Lewis Avenue
Phoenix, AZ 85009
Standard page rates are paid for all stock photographs published in the magazine. Payment is made upon publication according to the following schedule:
Front cover - $600
2-page spread - $350
Full page plus - $300
Full page - $200
Half-page plus - $150
Minimum - $125
A copy of the payment schedule for all Arizona Highways publications is available on request.
WRITERS AND PHOTOGRAPHERS GUIDELINES
Sport Diver magazine has over 250,000 readers who are newly certified scuba divers and active dive enthusiasts. Approximately 30,000 of those readers are PADI Divemasters, Assistant Instructors and Instructors. www.sportdiver.com has hundreds of thousands more. Because Sport Diver is the official publication of the PADI Diving Society, the vast majority of its readers are certified through PADI. The following statistics, compiled by PADI, reflect – in part – the composition of Sport Diver's readership.
There are 8.5 million certified scuba divers in the United States (all agencies) PADI certifies 70% of divers in the U.S. and 55% of divers throughout the world 72% of divers are male and 28% are female 62% of divers have an average income above $50,000 39% of divers are in professional/managerial occupation 58% of divers are married 50% of divers have a college degree The average age for divers is 36 years old
More specifically, Sport Diver's readership is broken into two age categories: 18-28 and 42-55. Both groups are predominantly male. Most of the 18- to 28-year-old group has been certified two years or less. Leisure travel and outdoor recreation compose the majority of vacation and free-time activities for both groups.
MAGAZINE STRUCTURE:
Dive Briefs covers the most current news and events: Political and regulatory news, record-setting events and notable happenings, plus books and videos
Regular columns are written by regular columnists, but supplemental articles are welcomed: Diver's Ed. (dive education and health), Images (still photography, video, digital photography), Gear (equipment) and
Features (articles 1,000 – 3,000 words in three main interest areas). (We're also interested in photo essays focused in any of these categories. Photo essays must have a clearly defined theme.)
Travel: represents the majority of feature articles. (It also represents the majority of submissions we receive.)
Destination: articles report the on hot destinations and their diving styles, attractions, amenities and culture. The articles are usually an overview of the flair and flavor of an island or country. Topside activity is of equal (in some cases greater) importance as the diving. We also cover exotic travel, which must have a dive angle but need not be solely about diving.
Do not submit articles that are glorified travel itineraries or simply a dive-by-dive chronology of your last vacation. These articles will be rejected.
Adventure: anything that out of the ordinary. Adventure always means some form of unusual activity, but it doesn't always take place at far-flung destinations. There are good adventures in our backyards.
Critters/Environment: some aspect of marine life or ecosystems. These can include the quest for a rare encounter, the quirky nature of a little-known creature, how and where to find specific species, or overviews of the worldwide condition of a species or habitat.
While conservation is a priority issue for the majority of divers and the staff of Sport Diver, we will reject extremist diatribes on behalf of specific organizations, unfairly balanced articles or negative attacks. Be very careful if you are considering this type of article, and be sure that all of your sources and facts can be independently verified.
Travel News: One lead story 250-400 words and occasionally a second item 50 – 100 words. Focus on news of air travel, sea travel, resorts and globe-trotting. May include focus on expansions, improvements or new additions.
Travel News Listings are short news blurbs about destination and specials, discounts and dive-travel packages being offered at destination around the world.
WRITING GUIDELINES:
Before you submit anything, READ THE LAST TWO ISSUES OF SPORT DIVER MAGAZINE and REVIEW OUR WEB SITE. Ask yourself if your idea fits into a section of Sport Diver (if it does not, the odds are slim that we can publish something that deviates from our editorial structure and vision). Please keep in mind: It is virtually impossible to sell to Sport Diver unless you are extremely familiar with the magazine's voice and tone.
In all but the rarest of cases, manuscripts must have publishing-quality photography. We want topside photography included. Photos often sell the story. If you are strictly a writer, let us know if you can connect with a photographer and send us samples of that person's work.
Full-length feature stories are usually assigned to our editorial staff or to regular contributors, but we are always looking to establish new relationships with writers and photographers. Do not be deterred from pitching us sound ideas. (Just remember that you are selling yourself as much as the story concept.)
All feature articles need the following information included as a sidebar:
Phone, fax, e-mail and Web site URL for all cited sources and dive operators. (We don't need postal addresses).
Traveler resources: map location, transportation to destination, topside activities and/or points of interest, climate (and/or best time to dive), entry/exit requirements or taxes, currency, language, tipping practices, water potability, electrical current, tourism board info.
Dive operations: number of boats/divers on boats, equipment type/condition, type diving/parameters, ancillary services availability, (camera rental, E-6 processing, etc.). "Doing it like a local," "it" being anything -- partying, best beer, best restaurants, best beaches, local customs you need to know about, etc. All manuscripts and queries should follow these format guidelines:
Use a serif font (such as Times Roman) in 12 or 14 pt. Do not add extra hard-return line spaces between paragraphs. Indent new paragraphs using a tab space set 0.5 inches. Do not use five space-bar spaces to indent. Single-space after sentence-ending punctuation. (Do not double space between the period ending a sentence and the capital letter beginning the next sentence.) Italicize boat names, movie titles and book titles.
We pay $300-$500 for feature articles (text only). We pay $50-$150 for Briefs, Travel News opener, or short Passport stories (text only). Long Passport stories pay up to $400 (text only).
PHOTOGRAPHY GUIDELINES:
Our priority is quality. We prefer digital images on CD or DVD in RAW format, but will review 35mm slides. Larger formats are accepted. Rarely will a photo print be reproduced in the magazine, but they may be used on the Web site. Originals or dupes are accepted when reviewing slides (indicate availability of originals). Do not send original slides with queries, and never send the only copy of a digital file. If you send slides and your idea is accepted, we will request originals. Label all slides with photographer's name and address and/or phone number. A caption sheet must accompany all accepted submissions unless otherwise agreed. All submissions must include a sheet documenting the number of images submitted and the article to which they belong. We purchase one-time rights, including the use of photos on the Sport Diver Web site within the context of the original article.
PRINT RATES:
Cover $1,000 2-page spread $200 Page + $175 Full page $150 Half page + $125 Half page $100 Less than 1/2 $75 "Spot" $50
Separate rates will be negotiated for photos used on the Web site outside the original article with which they appeared in print.
SUBMISSION PROCESS:
Ideas for Feature articles should be submitted via query letter sent e-mail or regular mail at the addresses below. We will respond via e-mail unless you do not have e-mail availability. (If you don't, get it immediately if you plan to be a writer.) If you want materials returned via regular mail, enclose SASE, but be aware that, these days, most writers prefer response via e-mail. No multiple submissions accepted. Please allow 6-8 weeks to receive a response to queries. All queries must meet the following criteria:
Succinct statement of concept and style/approach (no more than three short paragraphs). Availability of photos and their source. Samples help sell stories. Send dupes of 35mm slides, or JPEG or tiff file e-mail attachments. Do not send originals. Sport Diver will not be responsible for the return of unsolicited original photos. Brief professional biography - any special credentials you hold and previous writing experience. Include photocopies of previously published clips. Sport Diver will not be responsible for the return of unsolicited original clips. Your complete mailing address, e-mail address and phone numbers.
Submissions for non-feature article items can be made either as a query or complete text submission. Include photo samples or a source for photos. (Sport Diver will not be responsible for the return of any unsolicited photos.) All submissions must include your complete mailing address, e-mail address and phone numbers.
All manuscripts must be submitted in one of the following formats:
E-mailed attachment (preferred) or CD-ROM in Microsoft Word or compatible software (plain text format is acceptable). Do not try to arrange your manuscript like a magazine page; that really doesn't help us. Do not submit hard copy without a digital attachment.
Submissions should be addressed to Connie White, Managing Editor via e-mail at Connie White.
Or, you can submit via regular mail to:
Attn: Connie White, Managing Editor Sport Diver magazine
460 N. Orlando Ave., Suite 200
Winter Park, FL 32789
Photographer guidelines
Quick links to Frequently Asked Questions:
• How to join our photographer database
• Acceptable digital file formats
• Caption and photo credit information
• Digital lightbox submissions
• Photo handling and archiving
• Payment rates and publishing rights
• Montana Outdoors Annual Photo Issue
Thank you for inquiring about photo guidelines for Montana Outdoors. We’re always seeking new talent and beautiful imagery, and photographers are welcome to submit photos for consideration.
Join our talented pool of photographers
Please send your contact information, including address, phone, E-mail and website to lduran@mt.gov. We will enter your information into our photographer database and will add you to our photo call e-mail list.
We send out six photo calls per year via e-mail, usually about two months in advance of the magazine issue. These photo calls feature specific requests for the stories we are working on. Unsolicited images are not accepted, as we simply don’t have the time or space to consider them.
Montana Outdoors purchases photographs of the highest standards in clarity, color, and sharpness of focus (when focus is called for). We also require images to be clearly illustrative, be exceptionally beautiful, sparkle with a full range of dark to light, and have a good light source.
Currently we have about 400 photographers who regularly contribute to our magazine. With only 40 pages and limited space, Montana Outdoors doesn't purchase a lot of photos from any one photographer, but we recognize that each person brings his or her own talents and specialties to our publication. Crisp, colorful photos, unique perspectives, artistic interpretation all score points with us. Please just send us your very best images. Quality over quantity is always preferred.
Photo submissions and image formats
We will take good care of your submissions but will not be able to return them for two to three months. We do not honor holding fees. We do not acknowledge receipt of submissions unless you send them by certified mail.
Montana Outdoors does not generally publish photos of captive animals. We prefer to use images of animals photographed in the wild and will give preference to wild animal photos accordingly.
We accept all photos provided that the files meet our publication requirements:
Slides and transparencies. Beginning with our May-June 2008 issue, we will no longer accept film submissions. Our workflow is entirely digital.
Digital files. Please send 8-bit, high-resolution TIFF files on a CD or DVD. We don't accept RAW format files, as there are too many versions of RAW to accommodate into our workflow. We prefer digital files that have only little or no color correction or sharpening. Some of this work must be performed on our end, in order to optimize photos correctly for process-color magazine printing.
We calibrate our color workflow and monitors to color keys provided by our printer, so it’s important that we receive images in a relatively untouched state.
Digital photos must meet minimum resolution requirements for printing. At minimum, we require a photo to be at least 8”x10” at 300 pixels per inch. Ideally, we prefer photos that are 11”x17” (a full 2-page spread in the magazine) at 360 pixels per inch. Since our magazine is printed stochastically, we require slightly higher resolution than standard line-screen printing. The bottom-line: the higher the resolution and size of your image, the larger we can feature it in our pages.
We do not return CDs and DVDs submitted to us unless specifically requested.
Caption and credit information
All photos must be labeled or include meta data and keywords that include your name, and credit written as you wish the photo credit to read. We appreciate that you add brief caption information (e.g., “Mule deer buck, Little Belt Mtns.”).
Digital lightboxes
You may also send us custom lightboxes generated from your website. We will review your lightboxes accordingly, but be advised that we consider digital images sent to us first, and look to lightboxes secondary to fill our photo needs.
Photo handling and archiving
Often, we will archive your digital submissions to a hard drive, referenced by photographer and date of submission. We do this so we can refer back to your images and consider them for future articles, magazine news items, or other FWP projects. This also helps us to learn what your specialties are and to become familiar with the subject matter you shoot. Not to mention it saves you the trouble of re-submitting the same images at a later date. Understand that we will NEVER share your images with anyone or any organization.
And if we wish to feature your photos in an FWP project other than the magazine, we will ask for your permission first. If you do not want us to archive your images, please specify your wish with your submission, and whether or not you want us to return your disk(s).
Payment information and publishing rights
Photo payment is as follows:
Front cover: $300
Inside 2-page spread: $175
Back cover: $150
Inside full page: $100
Full page + additional columns: $100 + $25 per each additional column
Inside half-page or smaller: $75
Photo sequence (for a series of small illustrative photos roughly 1" to 1.5": $40
All photos used will be credited in the magazine. We will credit your photo based on how you label your file (i.e., “John Q. Photographer”, “Photographs R Us” or “joephotgrapher.com”). Photographers whose images are printed will receive five copies of the magazine issue.
Montana Outdoors articles are featured on the Montana FWP and Montana Outdoors web sites. We may include a small JPEG version of the opening spread for each article, or an image of the cover. We will not seek separate permission nor pay additional compensation for this electronic use.
Purchase rights to your photos are for one-time use only, with these exceptions:
1. Limited, small-format, on-line use as noted above.
2. Covers and spreads may be reproduced to promote the magazine.
3. Photographs may be reprinted as part of an article reprint used for educational purposes only.
If we select your photos for an issue, you will receive a purchase agreement indicating the photos we have purchased and the total amount to be paid. Upon receipt of your signed copy of this agreement, Montana Fish, Wildlife & Parks will send a check payment to you.
The Montana Outdoors annual photo issue
Each year, we dedicate our January–February issue to photography. No stories or news items, just the most beautiful, intriguing, and incredible images that cross our desks. For aspiring photographers and part-time photo hobbyists, this is your best opportunity catch our eye. And it's the one time each year that we open the pool to all types and styles of imagery. Sometimes our photo issue is focused around a basic theme, like Montana seasons or Montana wildlife; other years, it's open to simply the most amazing photos sent to us.
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BIG $$$$$$
Contact Scrap Magazine
• Welcome to Scrap
• Scrap Staff
• Scrap Writer’s Guidelines
• Scrap Photographer’s/Artist’s Guidelines
________________________________________
Welcome to Scrap
Scrap is the bimonthly magazine of the Institute of Scrap Recycling Industries (ISRI), a Washington, D.C.-based trade association with about 1,500 member companies that process, broker, and consume scrap commodities, including ferrous and nonferrous metals, paper, glass, textiles, rubber, and plastics.
Scrap has a Threefold Purpose:
• To provide practical and useful information to scrap professionals through articles and columns that will increase the profitability of their businesses. The editorial content of Scrap is designed to stimulate--to help scrap professionals manage all aspects of their businesses more successfully. Each issue communicates a variety of ideas to achieve that objective.
• To provide an editorial environment that will complement the sales message and help enhance advertisers’ profits. A quality editorial product provides additional credence and credibility to each advertisement in the magazine. Scrap wants its advertisers to be profitable and realizes that the editorial setting and target readership it provides are key ingredients to that success.
• To ensure that Scrap generates sufficient income to cover all of its costs, as well as to support ISRI in conducting other education, information, and research programs to benefit the association’s membership.
Scrap is located within the ISRI headquarters and can be reached at:
Scrap
1325 G St. N.W., Suite 1000
Washington, DC 20005-3104
If you wish to contact a Scrap staff member by phone, fax, or e-mail, here’s everything you need to know.
Scrap Staff
Publisher & Editor-in-Chief
Kent Kiser
Phone: 202/662-8547
Fax: 202/626-0947
E-mail: kentkiser@scrap.org
Editor
Rachel H. Pollack
Phone: 202/662-8543
Fax: 202/626-0943
E-mail: rachelpollack@scrap.org
Assistant Editor
Lindsay Holst
Phone: 202/662-8531
Fax: 202/626-0931
E-mail: lindsayholst@scrap.org
Production Director
Ellen Ross
Phone: 202/662-8545
Fax: 202/626-0945
E-mail: ellenross@scrap.org
Advertising Sales Director
Bob Emery
Phone: 440/268-0501
Mobile: 216/832-5927
Fax: 440/268-0502
E-mail: bobemery@scrap.org
Circulation and Advertising Associate
Valerie Hillyer
Phone: 202/662-8540
Fax: 202/626-0940
E-mail: valeriehillyer@scrap.org
Web Administrator
Aaron B. Pryor
Phone: 202/662-8539
Fax: 202/626-0939
E-mail: aaronpryor@isri.org
Scrap Writer’s Guidelines
Though Scrap is predominantly staff-written, the magazine does hire freelance writers. Most assignments are multisource features that focus on topics of interest and importance to scrap recyclers, such as new scrap processing and handling equipment, environmental regulations and legislation, market trends, management and operational techniques, and more. Scrap pays $600-$1,000 depending on the length and difficulty of the assignment. Payment upon acceptance. Byline given.
Writers interested in freelance assignments with Scrap should mail a letter of interest and at least two feature clips to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.
Scrap Photographer’s/Artist’s Guidelines
Scrap uses two to three photographers and two to five artists per issue. Photography assignments usually involve taking 35mm or 2 1/4-inch color images of scrap processing and consuming facilities, including materials, operating equipment, and personnel. Scrap usually pays $600-$1,000, plus expenses, for a one-day shoot. Payment upon receipt of images. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Most artworks are four-color pieces designed to accompany a specific article, with concepts suggested by Scrap and its art director. Scrap usually pays $500-$1,500 per illustration/artwork, depending on the assignment. Payment upon receipt of finished artwork. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Photographers and artists interested in assignments with Scrap should mail a letter of interest and brochures/printed samples of their work to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.
We are a hybrid: We are a trade publication, but we are not the "nut-and-bolt monthly". The fishing industry has a very real pulse from the grass roots up and our readers expect material that is as lively as they are. Over the years, our ability to produce compelling, well-illustrated stories has to led us to great success on the newsstand.
If most of our readers are fishermen, we nonetheless have a sizable audience of academics, politicians, bureaucrats, sport fishermen, environmental advocates and armchair mariners. As a result, our features must be appealing and comprehensible to people who are interested in the fishing industry but who are not be directly involved in catching fish.
We try to accomplish this by publishing stories about people. Yes, there are boats and fish and regulators and nets and engines and all the rest, but they must be part of stories that are engaging, honest, and unpretentious accounts of the people, equipment, and events that make commercial fishing the exciting and very human business it is.
Features
Features usually run from 1,500 to 2,500 words. Basically, our front-of-the-book stories fit into one of these categories:
• At-sea Writer makes a trip on a fishing boat and comes home with story and pictures, including one of him/herself with the captain and crew. (2,000 words plus fact box)
•Profile Profiles can address individuals or communities. They should include at least one "vintage" photo, i.e., subject when he was young, town in days of old. The people do not need to be icons of the industry and the community doesn't have to be a top-10 port. If you're interested in someone or someplace and write well, we'll be interested too. (1,500 to 2,000 words)
•History History pieces are akin to profiles, with a greater emphasis placed on the subject's evolution. A history piece can focus on a boat or a dock, though, as well as a community or fishery. (1,500 to 2,000 words)
•Analysis Our analysis stories look at current events in the fishing world. Warning: We look for subjects of interest to a national readership, which generally means writers must pitch stories that would interest fishermen from coast to coast, and they elicit comment from sources around the country. Grass-roots looks at local management issues are unlikely to cut it for us. (1,500 to 2,500 words) Other areas of interest for analytical features:
•The business of fishing Given what they're given, how can fishermen use efficiency, ingenuity or market savvy to make more money.
•The science of fishing Habitat and weather issues come to mind.
We are not interested in sport fishing (with the exception of articles on conflicts between sport and commercial fishermen), pleasure boats, cruising stories, pleasure boat equipment, or boat racing.
Last, but by no means least: My job as editor is to find a way to get good stories into the magazine, not keep them out. If you have a good idea that you don't think fits any of these categories, think again. Figuring out what would it take to make it fit could be the difference between getting an assignment and not getting one.
In any event, query us first (Senior Editor Linc Bedrosian at lbedrosian@divcom.com or Editor in Chief Jerry Fraser at jfraser@divcom.com , and read several issues of the magazine before you try to pitch a feature-length story.
Boats & Gear stories
Articles in the Boats & Gear section are about boats and equipment used by commercial fishermen, not charter-boat, workboat (tugs, ferries, etc.) or pleasure-boat owners. Though the readership is a professional audience that usually has owned more than one boat and has spent several years on the water, the article shouldn't read like it was written for a technical journal. Take the story elements and weave them into a narrative with local color, history and anecdotes thrown in to keep the story moving.
A boatbuilding story includes design information, construction details on how the boat was build, important equipment, something on the owner and builder, and a mention of the fisheries the boat is being built for.
Gear stories cover any of the equipment that a fishing boat utilizes. It might be sonars, gillnet haulers, trawl design, or developments in diesel engines. If it can go on a fishing boat - any kind or size of fishing boat - it's eligible.
But no matter how good your writing is, we need photographs and illustrations. So, think about how you can take photographs - with people in them - that explain the article.
Please query Michael Crowley, Boats & Gear editor at mscrowley@gwi.net.
Front of the book
The "Around the Coasts" section in the front of the book is a new writer's best chance to break into National Fisherman.
Each month we run about 20 "ATCs," which are commercial fishing news briefs from across the country (including the Great Lakes). Remember, though, that we are a monthly with a fairly long production cycle so breathless news leads aren't we're looking for. Ideally, we want briefs with a news element and that have a "voice" or a "take" on the news. Quotes are essential. Tip one: Read some ATCs. Tip 2: Consider the definition of an ATC as 250 words. If the story absolutely positive must be longer, pitch it as a feature or forget about it. Nor do we want anything shorter. Please query Senior Editor Linc Bedrosian, lbedrosian@divcom.com , before submitting material.
Artwork
If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC. For more information, please see the photgraphers guidelines.
Handling of submissions:
E-mailed submissions are best. I recommend that you attach your document to an e-mail, as well as paste it into the body of the e-mail. You should consider floppy disks as a last resort, but if that's all you've got, send it - along with a clean, hard copy. (Manuscripts that are typed should be double-spaced with I-inch-minimum margins. Do not use erasable typing paper and please don 't type over errors that have been covered with liquid or paper whiteout. If you choose to send us a photocopy of a story, please make sure that the reproduction is of good clear quality.)
Please don't fax submissions to us as we do not have the time to retype.
We try to acknowledge all editorial submissions as soon as possible, but don't worry if you don't hear right away. Material does pile up at certain times each month, especially when we are on deadline. Payment is generally made upon publication unless otherwise arranged.
National Fisherman buys first and limited reprint rights to all copy and accompanying photographs. Limited reprint rights permit us to approve the occasional request from a company or nonprofit institution to reprint an article. These rights in no way interfere with the author's ability to sell an article to another publication after it has appeared in National Fisherman.
We frequently find ourselves with a backlog of material on hand and competition for the available editorial space can be fierce. It's always a good idea to query us before submitting a story. Usually we can give you a fairly good idea of the article's chances of running in a given issue.
Some Important Points
Use your imagination when thinking up story ideas, but not when preparing facts. Be absolutely sure of what you re writing. Double-check the spelling of all names as well as technical information. No matter how well a story is written, its credibility - and its chances of being published - rest on its accuracy.
Unless you're reporting on an event that clearly occurred in the past, try to use present tense. This makes a story more dynamic. Also use the active rather than the passive voice. ("I caught the fish," instead of "The fish was caught by me.")
Unless other arrangements have been made, send all feature submissions to jfraser@divcom.com , all Boat & Gear submissions to Michael Crowley at msc@acadia.net , and all ATCs to lbedrosian@divcom.com .
Finally, please let us know how you'd like your name to appear in a byline. You might also send along a brief outline describing your background as a writer and your involvement in any other activities that relate to your area of expertise.
Don't hesitate to ask us for help if you have any questions about our requirements or editorial style. We'll be happy to help in any way we can.
Jerry Fraser
Editor in Chief
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Photographer's Guidelines
If you're writing a feature story for us, you must supply us with accompanying artwork. Art will also help sell us your ATC.
All photos should be marked with a credit line and should include the sender's full mailing address. Captions are required for all submitted photographs. The best way to provide this information is to type out each caption on a separate piece of paper and index it to the appropriate photo. (If you're submitting prints, do not write on the backs of photos with grease pencils or felt-tipped pens. Grease pencil invariably smears and ink from felt-tipped pens is readily transferred to the faces of photos that are stacked for mailing.)
We generally prefer color slides taken on 100 speed Elite Chrome or equivalent film, although film shot with medium- or large-format cameras also works for us.
Please send duplicates when possible because of the risk of losing originals during shipping.
Digital Images:
Scanned images can be e-mailed or sent on Zip disk or CD to art director Jennifer Finn at the address below. Images should be at least 300 DPI (resolution) at 100% of final print size. Final print size varies. 5X7 images will meet most magazine layout criteria. Images from many digital cameras do not meet these criteria or have a final print size about that of a postage stamp and low resolution. Scanned images are preferred, in jpeg, tiff or eps format. If you cannot tell if your image meets the criteria, don't hesitate to call.
Jennifer Finn, Art Director
National Fisherman
121 Free St.
Portland, ME 04101
207-842-5669
jfinn@divcom.com
BIRD TALK Photographer's Guidelines
Guidelines for submitting photos to BIRD TALK magazine
Updated: June 2, 2008, 2 p.m. EDT
Thank you for your interest. BIRD TALK magazine is dedicated to better care for pet birds. All bird photos are of exotic birds available in aviculture today. We avoid using photos of hybrid birds. We also seldom show mutations, unless they are of a species known for mutations (budgies, canaries, etc.), the mutation is quite popular, or the article is about the mutation.
The following guidelines will help you understand what we’re looking for when choosing photos for BIRD TALK magazine, and assist you in making submissions with the highest probability of acceptance.
GENERAL GUIDELINES
• All photos must be labeled with the correct bird species and photographer’s name. A unique ID number for each photo also helps with contracting.
• Digital images are the preferred format, though we will accept transparencies and slides and we can also use exceptional print photos
• Digital images must be high-resolution, 300 dpi and at least 3 by 5 inches to be considered for publication
• All photos must have the entire bird in focus (unless you’re trying for an artistic effect)
• Lighting should be even, with no dark shadows behind subjects
• The bird’s image should dominate the photo when it’s a portrait-type shot – do not permit a lot of space around the bird
• All birds should be looking at the camera, unless they are playing or involved in an activity
• Be aware of the background (see section on backgrounds below)
• Frame the photo so that the bird is cropped properly (do not cut off the tail when shooting a full-body shot, zoom in on only head when shooting a head shot, etc.)
• Be sure that all subjects are well-groomed (both bird and people)
• Be sure that if a bird is shown on its perch, the perch is the proper size for the bird
• Birds should be interactive – this is hard to describe in words. We want photos that show a bird’s personality. We want to avoid the typical bird-on-a-stick look. If a bird’s head is cocked or its foot is up or it’s looking at the camera like it’s a toy it really wants – that’s what we’re seeking.
• Try for different angles, instead of the usual “head-on” shot; have the camera above or below the bird (note: avoid strange side angles like in a Hitchcock film – it’s too distracting)
We encourage photos of owners with their birds. We need photos of birds in their home environments involved in their daily activities: chewing, climbing, bathing, eating, preening, interacting with people and other birds, looking into mirrors, holding items in their feet, talking, screaming and even biting. For species profile articles, we need attractive portraits of birds.
We also need: pictures of birds visiting the vet and the exam process, grooming photos (Be certain that if wings are being trimmed, it is done correctly, with the wings held in such a manner that the bird is not at risk), etc.
BACKGROUNDS
• Please make sure that any plant shown in a photo with a bird is safe for birds and identify the plant.
• Be sure that the background color contrasts with the color of the bird.
• Please be sure that the background is slightly out of focus so that it doesn’t compete with the image of the bird.
• If furniture appears in the photo, please ensure that it is does not look out-of-date or well-used.
• Avoid clutter
COVER PHOTOS
For cover shots, it is no longer necessary to leave space at the top for our logo. All cover shots now have the background knocked out. Our main concern with cover shots is that the bird be in focus, the lighting be good, the bird be well-groomed and, perhaps most important, the bird be looking at the camera and be interactive (head tilted, foot raised, great expression on face – something to show the bird has personality).
ACCEPTANCE & PAYMENT
Upon accepting a photo (be sure you label each one with a unique identifying number, the species of bird in the photo, and your name and address), we will send you a contract containing the acceptable photos’ numbers and hold these pictures in our files for possible future use. We do not accept submissions in which the subject is not correctly identified. Please include any “courtesy of” information, if needed, on the submission.
If a photo is used, payment is made during the latter part of the cover issue month in which the photo appeared. (A photo used in the June issue will be paid for in June.)
Payment rates are as follows:
- $250 for 4-color cover shots and 2-pp poster $50 for black and white, full page
- $125 for 4-color, full page $40 for black and white, 3/4 page
- $100 for 4-color, 1/2 page $20 for black and white, 1/4 page
- $75 for 4-color, 1/4 page
- $10 for 4-color, second-use in TOC
*Use of black and white photos is rare; however, we reserve the right to convert any color submission to a black-and-white photo in the magazine.
We do our best to return used slides in a timely manner but, because of our small staff and constant deadlines, some delays may occur. Your patience is appreciated.
Please include an inventory list, model releases (if applicable) and a self-addressed, stamped envelope with your submission. We cannot return your submission without a self-addressed, stamped envelope. We do not work with photographers who charge holding fees. After we receive your submission, allow at least eight weeks for a response.
Please send your submissions to either of the following addresses:
BIRD TALK Photo Editor
P.O. Box 6050
Mission Viejo, CA 92690 or BIRD TALK Photo Editor
3 Burroughs
Irvine, CA 92618
We will also consider your material for our sister publication, BIRDS USA, unless you indicate otherwise.
Submission Guidelines for Defenders Magazine
Defenders magazine is published quarterly for the membership of Defenders of Wildlife, a national nonprofit organization devoted to wildlife conservation. Defenders has a circulation of about 350,000. Content reflects the organization’s dedication to endangered species, public lands, habitat preservation, biodiversity conservation, the international wildlife trade and related subjects.
Issues contain a mix of full-length features as well as shorter departments and an organizational "newsletter." Most content features North American wildlife, although we occasionally focus on international issues. We emphasize current threats to wild species and habitat, worthwhile action to save wildlife and informed discussions of government programs and policies.
Please familiarize yourself with the scope of Defenders of Wildlife’s work prior to submitting a query. You may browse our website or request a back copy of the magazine by sending a SASE to the address below.
Process for Article Submissions
Query first! Include a brief description of your background, qualifications and how your ideas relate to the mission and work of Defenders of Wildlife. Most of our articles are assigned following a query. Please include two or three previously published general interest articles.
We do not accept fiction or poetry and rarely use essays. We do not accept previously published work submitted either by author or publisher. Proposals and manuscripts submitted simultaneously to other publications are not acceptable.
Length and Format
Department stories run from 500-800 words, features from 1,200-2,000 words.
We do not want encyclopedia extracts or scientific manuscripts. Content is directed to a general audience but we seek to maintain a high literary, reportorial and graphic standard. Scientific and grammatical accuracy is essential so please carefully edit all submissions.
For time and paper’s sake, we prefer email correspondence. For written correspondence, please include a SASE. We accept no responsibility for unsolicited submissions.
Contact and Submission Information
Submissions Editor
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
mageditor@defenders.org
Process for Photo Submissions
Defenders accepts submissions of photographs of endangered wildlife and habitat. Submissions should be emailed to photobuyer@defenders.org. Attachments must be low resolution jpegs totaling no more than 1 MB in size per e-mail. A link to a viewing platform may also be submitted. Please provide detailed information on the subject matter of the photographs when submitting. Defenders accepts no responsibility for unsolicited photos or artwork; materials sent via mail or other delivery services will be returned only if accompanied by proper postage.
Contact and Submission Information
Photo Buyer
Defenders Magazine
1130 17th St, NW
Washington, DC 20036
Phone: (202) 682-9400
Fax: (202) 682-1331
Email: photobuyer@defenders.org
How to Submit Articles and Photographs to Florida Wildlife
Submissions
We prefer to purchase first-time, one-time rights to manuscripts and photographs. If submissions are being considered by other publishers, please notify us of this fact. Articles, artwork and photographs may appear on the Florida Wildlife Web site.
Submissions are on speculation. Florida Wildlife reserves the right to use either all or part of your submission and to edit for content and/or size. Proper credit is given to authors, writers and photographers. Queries will be answered as time permits. Self-addressed return envelopes with sufficient postage should accompany all submissions you wish returned.
Writers' Guidelines
Florida Wildlife is looking for well-written and exciting Florida fishing, hunting and nature-based recreation stories. These stories should emphasize the appreciation of the overall outdoor experience and not focus solely on the taking of game. Stories should also reflect the concern hunters, anglers and other outdoor enthusiasts have about conserving wildlife and the habitat.
Typed manuscripts of 300 to 1,000 words may be submitted via e-mail, computer disc or in hard copy format. We prefer that electronic copy be composed in MS Word, but will accept other formats. The first page should include the writer's name, address, telephone number and e-mail address. Poetry and handwritten manuscripts will not be considered for publication.
Manuscripts that include photographs or artwork are more likely to be considered for publication. Include the photographer's name, address, telephone number and e-mail address (if not the same as the writer's) and a description of the action, person or place pictured.
We are looking for:
• Freshwater and saltwater fishing articles.
• Hunting and hunting-related stories.
• Articles about outdoor activities such as tracking, diving, boating, hiking, wildlife watching, etc.
• How-to articles with tips and techniques for both beginners and experienced enthusiasts.
Tips & Techniques
• Be sure to include who, what, where, when, why and how in your story.
• Maintain a tight focus on your subject matter.
• Write in the active voice, not the passive voice. An example - Passive: Three suspects were arrested by wildlife officers. Active: Wildlife officers arrested three suspects.
• Use present tense when possible.
• Use quotes and attribute them accurately. Quotes add to the reliability of a story.
• Include sidebar information such as where to get additional information, the best place(s) to participate in the activity, how-to tips, how family members may join in or how they may participate in complimentary activities, etc.
• Thoroughly research your story—use at least four sources. Include a wide range of perspectives to give your story depth and balance.
• When citing research, be specific but avoid being pedantic. Readers want to know what the point of the research was, what was learned and what it implies for them, wildlife and the management of resources. Remember, Florida Wildlife is not a technical journal for researchers.
• Avoid anthropomorphism -- attributing human feelings or thoughts to animals.
Photographers' Guidelines
Florida Wildlife has a long history of showcasing outstanding and award-winning photography and artwork. In order to continue this tradition, only extremely sharp, in-focus and well-lit photographs are considered for publication. We prefer high-resolution scans rather than film to avoid damage to or loss of original work. Low-resolution images enlarged via a computer program and other obviously retouched images will not be considered. We cannot accept soft-focused or blurred images.
When taking photographs which include people, look for shots illustrating that everyone enjoys outdoor activities—young and old, male and female, able bodied and disabled and those from various cultural backgrounds. Take advantage of naturally occurring shots—set-up shots are easily identified as such.
Each image submitted, whether digital, transparency or glossy print, should be labeled with the photographer's name and a number. The number should correspond with a separate caption sheet. The caption sheet should describe the action, place and/or person pictured. Include the name, address, telephone number and e-mail address of the photographer.
Images may be cropped, rotated, flipped or otherwise edited by a graphic artist to suit the magazine's style or to fit in available space.
We accept:
• High-resolution digital images, at least 300dpi and 2M-15M. If e-mailed, larger files should be sent singly and as JPEGs. If submitted via CD, images may be JPEG, TIFF or EPS.
• 35mm or larger first-generation slides or negatives.
• High quality color prints, preferably 8x10.
All images should:
• Be shot in Florida or illustrate species living in Florida.
• Portray hunting, fishing and all other activities conforming to Florida's legal regulations, safety practices and to high ethical standards.
• If the photograph is taken on a boat or dock, any people in the photograph should be pictured wearing personal flotation devices.
Other Policies
All submissions are on speculation, and payment is made upon publication. Payment varies, depending on length, complexity and quality. In general, we pay $50 for each photograph (up to $200 for a front cover) and $75-$250 for articles.
Materials will be handled carefully, but due to the risk of mailing and shipping, Florida Wildlife and its agents will not be responsible for damage or loss of submitted material.
Stories and photographs will not be accepted for publication if they:
• Refer to alcohol or tobacco products.
• Use profanity or picture profane printed products such as explicit t-shirts.
• Advertise or promote a business or product.
• Fail to show respect for the game being taken and/or contain overly graphic details of the harvest.
• Are strictly "trophy" in content—pictures of a sportsperson with harvest or "how I got my biggest . . ."stories.
Deadlines
Publication Speculation Submission Deadline Assigned Article Deadline
January/February July 15 September 1
March/April September 15 November 1
May/June November 15 January 1
July/August January 15 March 1
September/October March 15 May 1
November/December May 15 July 1
Mail address: Editor, Florida Wildlife, 620 S. Meridian St., Tallahassee, FL 32399-1600
E-mail: floridawildlife@MyFWC.com
Fax: 850-488-8974
Phone: 850-410-4944 or 1-800-416-4081
The Horse is a monthly magazine devoted to equine health care. The publication focuses on educational topics and news and is geared towards the professional, hands-on horse owner.
The Horse pays on acceptance. Writers should submit a resume and samples of their writing before submitting a manuscript, and including an e-mail address will expedite our response to you. Query letters or complete manuscripts will be reviewed after this process. The Horse will not accept unsolicited manuscripts. A byline is given and acceptance for publication includes first rights and online rights unless otherwise agreed upon.
The Horse prefers "how-to topics," technical topics, and topical interviews. It accepts no first-person experiences except from professionals--this is a technical magazine to inform horse owners.
Clips (writing samples) should ideally show an ability to organize technical information to maximize the understanding and education of the reader, as well as a smooth, correct writing style.
If you have a specific article topic in mind, save yourself some trouble by first checking to make sure we have not done an article on the topic recently, and do not already have one assigned on it in the near future. You can check recent issues (by issue or via a topical search) and our calendar of upcoming topics.
Articles range from short news items at 250 words to 4,000 word cover stories; payments vary depending on length of article.
If photos are to be submitted with a submission, please do not send originals. The Horse is not responsible for unsolicited, lost, or damaged images. Please see the complete Photography Guidelines below.
Contact:
The Horse: Your Guide To Equine Health Care
Kimberly Brown
Editor-in-Chief/Publisher
PO Box 919003
Lexington, KY 40591-9003
kbrown@TheHorse.com
**Please see our writer's style guidelines as well.
Photography Guidelines
-View 2009 Photo Needs Now!
Magazine Needs: About 40 photos/issue; 20-30 supplied by freelancers. Contracts required. Captions preferred. Published work ok. Buys one-time rights. Payment based on photo size and use ($35 for online usage; $40 for less than 1/4 page; $70 for 1/4 page to less than a full page; $90 for a full page; $120 for a spread; $350 for cover). Please do not send originals. The Horse is not responsible for unsolicited, lost or damaged images.
SUBMISSIONS
For digital images:
• Please do not submit low resolution files. All pictures submitted to The Horse must be at least 300 dpi at a 4 x 6 inches.
• Take the time to fill in properties (metadata) on your photos. (Even when they are e-mailed, because it is very hard to sort the images and file them for appropriate use.) This is mandatory for all digital photos submitted. Even though this is time consuming, please at least put your name and a few (1-3) general keywords (ie. eating grass, flies, water, farrier, etc.). All basic photo software has this capability. This will help ensure that you receive proper photo credit and payment.
• Please do not send CDs with locked images. For our purposes, we do change the name of the photos when they are filed into our system. However, properties on photos do not change even when photos are renamed. So, please put your name in the properties for all submitted photos.
• If you are having trouble e-mailing images, it is most likely because your files are just too large. If you are sending very large files, you can upload them to the FTP site ftp://production:pogo051@ftp.bloodhorse.com Please e-mail Megan Arszman (marszman@thehorse.com) for more information.
For slides and photographs:
• Please do not submit without discussing with the Photo Editor. Photographs and/or slides that are received will be handled carefully, but we are not responsible for their safety or return. Do not submit original photographs or slides. All submissions of slides and photographs must be issue-specific. We just do not have the room to keep stock slides or photographs. So please try to submit stock photos in a digital format.
When you are published in The Horse:
If you are published in The Horse, we will send you a PDF file of the page of the magazine with your image on it upon your request.
Photo Needs:
Photo needs can be viewed at the following link:
http://www.thehorse.com/ViewArticle.aspx?ID=1405
(Or you can just type in 1405 in the article search from the homepage).
If you would like to look ahead, and send future images (which we would love because we are really trying to get things in sooner and work further ahead) please take a look at our editorial calendar. (Which is accessible from the homepage.) http://www.thehorse.com/MediaKit/pr_edit_calendar.asp
Final Tips:
• Only high-quality, professional images will be accepted. No blurry shots please unless they are blurred to show motion of the horse. Make sure photos are not too dark for reproduction. Check that dark horses do not blend into dark backgrounds and white horses do not fade into a light background. Backgrounds are always important. Ask yourself if the focus of the photo is on a cluttered background or on the subject of the photo. Also, colorful images will grab attention of those lacking color. Keep this in mind while shooting.
• It is recommended that you send in samples of your work if you have not worked with us before. If the photos are deemed acceptable based on the criteria above, a photo needs list will be provided.
• Interaction shots are always needed--horses with people, horses with horses, owners and veterinarians, owners and farriers.
• Also needed are photos of a horse with an actual illness or injury (i.e. equine herpesvirus, colic, narcolepsy, etc.)
• We tend to use seasonal shots to correspond with the issue (such as winter shots for winter issues), so images for the winter issues might need to be shot way in advance. Plan ahead.
• Please put your name on every photo or slide; this will help us get them back to you.
• Please keep us updated as to your contact information (including a mailing address, shipping address for the return of photos, phone, e-mail, and a web site if applicable). This is so we can make sure payment, magazines, and photos go to the right place and also allow us to get in contact with you if any unexpected photo needs arise.
• Please observe all deadlines listed if sending in for a specific issue.
• Please call Megan Arszman at 859/276-6833 or email her at marszman@thehorse.com if you have any questions.
• View the Photo Needs list periodically for updates.
***Please include your name and 1-3 keywords on every digital photo submitted!***
Contact:
The Horse: Your Guide To Equine Health Care
Megan Arszman
Photo and Newsletter Editor
PO Box 919003
Lexington, KY 40591-9003
marszman@thehorse.com
AUTHOR'S GUIDELINE
A note from the Editor
Dear Prospective PT Contributor:
Thanks for inquiring about the submission guidelines for PHOTO Techniques magazine. We’re perhaps the most technical photography magazine on the newsstand, and cover both traditional and digital photography. Our readership is comprised of advanced amateurs and working professionals. As the name implies, many of our articles focus on the techniques that help produce exceptional photographs. We also focus on the science of photography. We’ve closely examined, for instance, the numbers behind the superiority of 16-bit imaging, and the techniques behind the manipulation of light, the interaction of photochemicals, and useful tips for processing and printing photographs. Many of our articles have featured experiments that readers can perform at home and duplicate the results for themselves.
Many of our readers are students of the Zone System, created by photographer Ansel Adams and others. Many are well-versed in Adams’ work and teachings, and several contributing editors specifically address the Zone System on an ongoing basis. Many readers are largely or solely digital. Articles on digital photography should cover the hows and whys of some aspect of the process of creating quality digital prints, rather than illustrating what one can do with various wacky Photoshop filters. Our readers also enjoy technical articles, scientific tests and guides that we present. “How-to” articles backed by concrete examples and good photographs are always welcome.
Before you submit, we ask that you first pick up an issue or two to get a good feeling for the magazine’s content. You’ll see that most of our published photographs appear in stories about using a given photographic technique, so article ideas (or a full article, if you’ve written it) generally should accompany submitted photographs. Photographs with no article idea can only appear in our portfolio section, which makes the odds of selection long (portfolios will need an accompanying essay, in any case, if they are chosen).
Portfolios
We’re always looking for interesting images for our cover or portfolio section. Having said that, we publish only six portfolios, six covers, and less than a handful of “one-pagers” each year—and half of those are solicited privately. As with other photography magazines, the odds are long. We say this not to discourage submissions, but so that potential contributors will realize that this is not a contest: acceptance or rejection of your work is a judgment not of its ultimate quality or merit but merely of its suitability to our current needs.
We need images that go together well. Portfolios which try to show the range and adaptability of the photographer by including disparate types of standard pictures are unlikely to be accepted. Think of a one-person gallery show—most offer bodies of work on a theme or two, not random assortments of “this and that.” The exception to this is if you choose to send two groups of pictures, different from each other but each internally coherent.
To be chosen, work must go beyond competence; generic work in any category isn’t interesting. For instance, we get many, many portfolios of landscapes that aphotographer shot while on vacation, so before sending in images of waterfalls or Monument Valley, ask yourself whether the images truly show a fresh view of an often-depicted subject or whether you’re better off covering less crowded territory. No subject matter is excluded, but work that diverges radically from the norms of public taste begins with a strike against it.
We pay $400 for a four page portfolio (usually four to eight images), plus we can provide extra copies of the issue in which your work appears.
Submitting
Work must be original and not previously published. Please include your e-mail address, and home and work telephone numbers on both your manuscript and illustrations. Upon acceptance, we’ll first edit and lay out the article, then fax it to you to check for errors. Articles generally pay $100 per published magazine page.
You can send text and images via e-mail attachments. (Please, however, do not imbed your graphics into your Word documents.) Send your work to: jgordon@phototechmag.com
If sending text and images via U.S. Mail, include a disk with your article in Microsoft Word format. Items submitted via U.S. Mail must be accompanied by a return envelope (and packing) with return postage. Please package your work well, and ensure that it is easy to handle and re-package.
Text: Articles should be less than 2,500 words. Text should be submitted in double-spaced format. Please include any diagrams, illustrations or photos to be used with the article, along with captions. Captions should include type of camera used, type of film and any other technical information—including camera settings, how you processed it, type of developer, type of paper, etc.
Images: Send 8–20 prints; 8x10s are best; anything larger than 11x14 is strongly discouraged—they’re difficult logistically and hard to scan. If sending slides please enclose between 15-25 images for us to review, along a description of what’s in the photographs, where you shot them, the type of camera/lens set-up used, and type of film. Slides should be good dupes: DO NOT send valuable or irreplaceable originals without specific consent. Please indicate if digital images are comprised of more than one “negative.”
You can also send photos as JPEGs attached to e-mail, not totalling more than about 1 MB. Please send no more than 10 at a time, and the absolute minimum size 320x240 pixels (640x480 is better) so that we can see all the fabulous detail in your images. You can burn images (as JPEGs or TIFFs) onto a CD and mail it (a good option for sending more or high-resolution images).
A Division of Preston Industries, Inc.
6600 W. Touhy Ave., Niles, IL 60714-4516 U.S.A.
Phone 847.647.2900 | Fax 847.647.1155
Writers' Guidelines
Caribbean Travel & Life is in its 20th year of providing stories and photos about our fascinating region. Potential writers for the magazine must understand that our audience is made up of upscale, sophisticated and experienced Caribbean travelers who visit the region repeatedly. Therefore, our readers look to CT&L to guide them to new and interesting places to visit and to present the many facets of Caribbean culture.
The editors of CT&L are always open to ideas from writers. Our only requirements are that the writing be superb, the subject be something unique and interesting, and the writer must know his/her material. To understand what kind of stories we buy, read the magazine. We do NOT run generalized travelogues, guidebook-like island profiles, or standard stories about well-known, over-publicized or commonly visited places. Our readers demand behind-the-scenes stories, off-the-beaten-path destinations and ahead-of-the-curve knowledge about the Caribbean.
Most of the major features in CT&L are assigned to staff or to writers with whose work we are familiar. New writers will have better success starting off in one of our departments. Always keep in mind that the availability of good photographs to illustrate a story is essential.
TO SUBMIT
To submit a query, send a brief email to Dave Herndon, Editor, Caribbean Travel & Life, editor@caribbeantravelmag.com. Please do not call and do not send a complete manuscript unless requested.
Photography Guidelines
Sierra, the magazine of the Sierra Club, publishes photographs pertaining to the natural world and the environment. We use high-quality, mostly color photographs and prefer digital files.
Photographers interested in submitting work to Sierra are encouraged to send a link to their Web site, along with a stock listing of regions and subjects of specialty for us to review. Please do not send unsolicited transparencies and prints. We do not have the staff to review them or ensure their safe return.
We review photographers' stock lists (subject matter and locations in photographs) and samples and keep the names of potential contributors on file. Photographers are contacted only when subjects they have in stock are needed. We typically do not post our photo-needs list online or elsewhere.
Sierra does not accept responsibility for lost or damaged transparencies sent on spec or for portfolio review.
Please e-mail Photo.Submissions@sierraclub.org. Thank you for your interest in contributing to Sierra.
Submission Guidelines for Writers and Photographers
About Us:Yankee Magazine covers the six New England states of Connecticut, Massachusetts, Maine, New Hampshire, Rhode Island, and Vermont. Our Feature articles, as well as the departments of Home, Food, and Travel, reflect what is happening currently in the region. Writers interested in working with us should read several current issues of Yankee before querying us or sending an unsolicited manuscript.
Also read editor Mel Allen's 5 Best, Surefire Ways to Break Into Yankee.
Stories or Queries:Yankee welcomes freelance submissions in the areas of home, travel, food, and non-fiction editorial. We are not currently accepting poetry, fiction, or cartoons. Both manuscripts and queries should include a small collection of clips of your other work. Manuscripts should additionally be accompanied with a short cover letter.
If submitting by the U.S. mail, please include a SASE with sufficient postage for both a reply and your materials to be returned to you. We reply as quickly as possible, but please allow at least five weeks. All material should be sent to the attention of Justin Shatwell.
Yankee buys all rights to stories it purchases. Payment is made on acceptance of the article by the assignment editor and with the writer's submitted invoice.
Justin Shatwell
Yankee Magazine
PO Box 520
Dublin, NH 03444
editors@yankeepub.com
Photography and Art: We give assignments to experienced professionals. If you want to work with us, show us a portfolio of your best work. Contact our Photo Editor, Heather Marcus, before sending any photography to our Art Department. Please do not send any unsolicited original photography or artwork.
Heather Marcus
603-563-8118, ext. 192
heatherm@yankeepub.com
Submissions
Photo Submission Guidelines
>> View Digital Submissions Guidelines PDF
>> Download Photo Delivery Receipt
Thank you for your inquiry regarding photography in Arizona Highways. Although the magazine and our Related Products (calendars, books, cards, etc.) are all planned many months ahead, we welcome photographic submissions of original transparencies, 35mm slides and high-resolution digital files that exhibit the high quality that we demand from our professional contributors.
In order to achieve the high-quality reproductions in our publications, we prefer large format (4x5) transparencies, especially for the large scenic landscapes for Arizona Highways is famous. We will use medium format and 35mm transparencies that display exceptional quality and content. Digital files must be prepared according to our Digital Photography Guidelines (see our Web site to download a copy) and burned to a disk. Some subjects such as wildlife and people are best suited to smaller formats and digital SLRs, but in order to achieve high-quality reproductions they must be shot on fine-grained color slide film (100 ISO or slower) or digitally captured at low ISOs in RAW. Edit your photos carefully before submitting. More is not necessarily better. Submit only the images that are as good or better than those you see in our magazine, books, and calendars. Midday light is the worst for photography of any kind, but especially bad for landscape photography. Be original and creative in your composition and approach to common subjects, and avoid visual clichés like saguaro silhouettes at sunset.
Each photographic submission must be accompanied by a completed Arizona Highways Photo Delivery Receipt (PDR) signed and dated by the photographer. To obtain a PDR, visit the Arizona Highways Web site to download a copy to fill out and enclose with your submission. We may hold images that meet quality standards and suit current subject needs. All rejects will be returned promptly.
For protection and ease of viewing by the editors, please use slide file pages and clear acetate sleeves on all transparencies and slides. Each photograph submitted must be clearly labeled with the photographer’s name and detailed caption information printed on the transparency mount. This includes names of people, landmarks, and locations and positive identification of all plants and animals.
THE EDITORS WILL NOT REVIEW PHOTOGRAPHY THAT IS SUBMITTED WITHOUT THE PHOTOGRAPHER’S NAME AND CONTACT INFORMATION ON EACH AND EVERY TRANSPARENCY MOUNT. IF HIGH RESOLUTION DIGITAL FILES ARE BEING SUBMITTED, USE FILE METADATA TO INCLUDE CAPTION AND COPYRIGHT INFORMATION.
Nearly all photographs used in our publications are purchased from free-lance photographers. One-time publication rights are purchased, and all other rights remain with the photographer. All transparencies are returned after use. For digital submissions, disks containing digital files will be destroyed after use. We prefer that photographers in the Phoenix metro area drop off and pick up their photography at our offices. Long distance submissions should be sent by US Mail Certified or private express courier service. Return postage will be paid by Arizona Highways.
Mail submissions to:
Photography Editor
Arizona Highways Magazine
2039 W. Lewis Avenue
Phoenix, AZ 85009
Standard page rates are paid for all stock photographs published in the magazine. Payment is made upon publication according to the following schedule:
Front cover - $600
2-page spread - $350
Full page plus - $300
Full page - $200
Half-page plus - $150
Minimum - $125
A copy of the payment schedule for all Arizona Highways publications is available on request.
WRITERS AND PHOTOGRAPHERS GUIDELINES
Sport Diver magazine has over 250,000 readers who are newly certified scuba divers and active dive enthusiasts. Approximately 30,000 of those readers are PADI Divemasters, Assistant Instructors and Instructors. www.sportdiver.com has hundreds of thousands more. Because Sport Diver is the official publication of the PADI Diving Society, the vast majority of its readers are certified through PADI. The following statistics, compiled by PADI, reflect – in part – the composition of Sport Diver's readership.
There are 8.5 million certified scuba divers in the United States (all agencies) PADI certifies 70% of divers in the U.S. and 55% of divers throughout the world 72% of divers are male and 28% are female 62% of divers have an average income above $50,000 39% of divers are in professional/managerial occupation 58% of divers are married 50% of divers have a college degree The average age for divers is 36 years old
More specifically, Sport Diver's readership is broken into two age categories: 18-28 and 42-55. Both groups are predominantly male. Most of the 18- to 28-year-old group has been certified two years or less. Leisure travel and outdoor recreation compose the majority of vacation and free-time activities for both groups.
MAGAZINE STRUCTURE:
Dive Briefs covers the most current news and events: Political and regulatory news, record-setting events and notable happenings, plus books and videos
Regular columns are written by regular columnists, but supplemental articles are welcomed: Diver's Ed. (dive education and health), Images (still photography, video, digital photography), Gear (equipment) and
Features (articles 1,000 – 3,000 words in three main interest areas). (We're also interested in photo essays focused in any of these categories. Photo essays must have a clearly defined theme.)
Travel: represents the majority of feature articles. (It also represents the majority of submissions we receive.)
Destination: articles report the on hot destinations and their diving styles, attractions, amenities and culture. The articles are usually an overview of the flair and flavor of an island or country. Topside activity is of equal (in some cases greater) importance as the diving. We also cover exotic travel, which must have a dive angle but need not be solely about diving.
Do not submit articles that are glorified travel itineraries or simply a dive-by-dive chronology of your last vacation. These articles will be rejected.
Adventure: anything that out of the ordinary. Adventure always means some form of unusual activity, but it doesn't always take place at far-flung destinations. There are good adventures in our backyards.
Critters/Environment: some aspect of marine life or ecosystems. These can include the quest for a rare encounter, the quirky nature of a little-known creature, how and where to find specific species, or overviews of the worldwide condition of a species or habitat.
While conservation is a priority issue for the majority of divers and the staff of Sport Diver, we will reject extremist diatribes on behalf of specific organizations, unfairly balanced articles or negative attacks. Be very careful if you are considering this type of article, and be sure that all of your sources and facts can be independently verified.
Travel News: One lead story 250-400 words and occasionally a second item 50 – 100 words. Focus on news of air travel, sea travel, resorts and globe-trotting. May include focus on expansions, improvements or new additions.
Travel News Listings are short news blurbs about destination and specials, discounts and dive-travel packages being offered at destination around the world.
WRITING GUIDELINES:
Before you submit anything, READ THE LAST TWO ISSUES OF SPORT DIVER MAGAZINE and REVIEW OUR WEB SITE. Ask yourself if your idea fits into a section of Sport Diver (if it does not, the odds are slim that we can publish something that deviates from our editorial structure and vision). Please keep in mind: It is virtually impossible to sell to Sport Diver unless you are extremely familiar with the magazine's voice and tone.
In all but the rarest of cases, manuscripts must have publishing-quality photography. We want topside photography included. Photos often sell the story. If you are strictly a writer, let us know if you can connect with a photographer and send us samples of that person's work.
Full-length feature stories are usually assigned to our editorial staff or to regular contributors, but we are always looking to establish new relationships with writers and photographers. Do not be deterred from pitching us sound ideas. (Just remember that you are selling yourself as much as the story concept.)
All feature articles need the following information included as a sidebar:
Phone, fax, e-mail and Web site URL for all cited sources and dive operators. (We don't need postal addresses).
Traveler resources: map location, transportation to destination, topside activities and/or points of interest, climate (and/or best time to dive), entry/exit requirements or taxes, currency, language, tipping practices, water potability, electrical current, tourism board info.
Dive operations: number of boats/divers on boats, equipment type/condition, type diving/parameters, ancillary services availability, (camera rental, E-6 processing, etc.). "Doing it like a local," "it" being anything -- partying, best beer, best restaurants, best beaches, local customs you need to know about, etc. All manuscripts and queries should follow these format guidelines:
Use a serif font (such as Times Roman) in 12 or 14 pt. Do not add extra hard-return line spaces between paragraphs. Indent new paragraphs using a tab space set 0.5 inches. Do not use five space-bar spaces to indent. Single-space after sentence-ending punctuation. (Do not double space between the period ending a sentence and the capital letter beginning the next sentence.) Italicize boat names, movie titles and book titles.
We pay $300-$500 for feature articles (text only). We pay $50-$150 for Briefs, Travel News opener, or short Passport stories (text only). Long Passport stories pay up to $400 (text only).
PHOTOGRAPHY GUIDELINES:
Our priority is quality. We prefer digital images on CD or DVD in RAW format, but will review 35mm slides. Larger formats are accepted. Rarely will a photo print be reproduced in the magazine, but they may be used on the Web site. Originals or dupes are accepted when reviewing slides (indicate availability of originals). Do not send original slides with queries, and never send the only copy of a digital file. If you send slides and your idea is accepted, we will request originals. Label all slides with photographer's name and address and/or phone number. A caption sheet must accompany all accepted submissions unless otherwise agreed. All submissions must include a sheet documenting the number of images submitted and the article to which they belong. We purchase one-time rights, including the use of photos on the Sport Diver Web site within the context of the original article.
PRINT RATES:
Cover $1,000 2-page spread $200 Page + $175 Full page $150 Half page + $125 Half page $100 Less than 1/2 $75 "Spot" $50
Separate rates will be negotiated for photos used on the Web site outside the original article with which they appeared in print.
SUBMISSION PROCESS:
Ideas for Feature articles should be submitted via query letter sent e-mail or regular mail at the addresses below. We will respond via e-mail unless you do not have e-mail availability. (If you don't, get it immediately if you plan to be a writer.) If you want materials returned via regular mail, enclose SASE, but be aware that, these days, most writers prefer response via e-mail. No multiple submissions accepted. Please allow 6-8 weeks to receive a response to queries. All queries must meet the following criteria:
Succinct statement of concept and style/approach (no more than three short paragraphs). Availability of photos and their source. Samples help sell stories. Send dupes of 35mm slides, or JPEG or tiff file e-mail attachments. Do not send originals. Sport Diver will not be responsible for the return of unsolicited original photos. Brief professional biography - any special credentials you hold and previous writing experience. Include photocopies of previously published clips. Sport Diver will not be responsible for the return of unsolicited original clips. Your complete mailing address, e-mail address and phone numbers.
Submissions for non-feature article items can be made either as a query or complete text submission. Include photo samples or a source for photos. (Sport Diver will not be responsible for the return of any unsolicited photos.) All submissions must include your complete mailing address, e-mail address and phone numbers.
All manuscripts must be submitted in one of the following formats:
E-mailed attachment (preferred) or CD-ROM in Microsoft Word or compatible software (plain text format is acceptable). Do not try to arrange your manuscript like a magazine page; that really doesn't help us. Do not submit hard copy without a digital attachment.
Submissions should be addressed to Connie White, Managing Editor via e-mail at Connie White.
Or, you can submit via regular mail to:
Attn: Connie White, Managing Editor Sport Diver magazine
460 N. Orlando Ave., Suite 200
Winter Park, FL 32789
Photographer guidelines
Quick links to Frequently Asked Questions:
• How to join our photographer database
• Acceptable digital file formats
• Caption and photo credit information
• Digital lightbox submissions
• Photo handling and archiving
• Payment rates and publishing rights
• Montana Outdoors Annual Photo Issue
Thank you for inquiring about photo guidelines for Montana Outdoors. We’re always seeking new talent and beautiful imagery, and photographers are welcome to submit photos for consideration.
Join our talented pool of photographers
Please send your contact information, including address, phone, E-mail and website to lduran@mt.gov. We will enter your information into our photographer database and will add you to our photo call e-mail list.
We send out six photo calls per year via e-mail, usually about two months in advance of the magazine issue. These photo calls feature specific requests for the stories we are working on. Unsolicited images are not accepted, as we simply don’t have the time or space to consider them.
Montana Outdoors purchases photographs of the highest standards in clarity, color, and sharpness of focus (when focus is called for). We also require images to be clearly illustrative, be exceptionally beautiful, sparkle with a full range of dark to light, and have a good light source.
Currently we have about 400 photographers who regularly contribute to our magazine. With only 40 pages and limited space, Montana Outdoors doesn't purchase a lot of photos from any one photographer, but we recognize that each person brings his or her own talents and specialties to our publication. Crisp, colorful photos, unique perspectives, artistic interpretation all score points with us. Please just send us your very best images. Quality over quantity is always preferred.
Photo submissions and image formats
We will take good care of your submissions but will not be able to return them for two to three months. We do not honor holding fees. We do not acknowledge receipt of submissions unless you send them by certified mail.
Montana Outdoors does not generally publish photos of captive animals. We prefer to use images of animals photographed in the wild and will give preference to wild animal photos accordingly.
We accept all photos provided that the files meet our publication requirements:
Slides and transparencies. Beginning with our May-June 2008 issue, we will no longer accept film submissions. Our workflow is entirely digital.
Digital files. Please send 8-bit, high-resolution TIFF files on a CD or DVD. We don't accept RAW format files, as there are too many versions of RAW to accommodate into our workflow. We prefer digital files that have only little or no color correction or sharpening. Some of this work must be performed on our end, in order to optimize photos correctly for process-color magazine printing.
We calibrate our color workflow and monitors to color keys provided by our printer, so it’s important that we receive images in a relatively untouched state.
Digital photos must meet minimum resolution requirements for printing. At minimum, we require a photo to be at least 8”x10” at 300 pixels per inch. Ideally, we prefer photos that are 11”x17” (a full 2-page spread in the magazine) at 360 pixels per inch. Since our magazine is printed stochastically, we require slightly higher resolution than standard line-screen printing. The bottom-line: the higher the resolution and size of your image, the larger we can feature it in our pages.
We do not return CDs and DVDs submitted to us unless specifically requested.
Caption and credit information
All photos must be labeled or include meta data and keywords that include your name, and credit written as you wish the photo credit to read. We appreciate that you add brief caption information (e.g., “Mule deer buck, Little Belt Mtns.”).
Digital lightboxes
You may also send us custom lightboxes generated from your website. We will review your lightboxes accordingly, but be advised that we consider digital images sent to us first, and look to lightboxes secondary to fill our photo needs.
Photo handling and archiving
Often, we will archive your digital submissions to a hard drive, referenced by photographer and date of submission. We do this so we can refer back to your images and consider them for future articles, magazine news items, or other FWP projects. This also helps us to learn what your specialties are and to become familiar with the subject matter you shoot. Not to mention it saves you the trouble of re-submitting the same images at a later date. Understand that we will NEVER share your images with anyone or any organization.
And if we wish to feature your photos in an FWP project other than the magazine, we will ask for your permission first. If you do not want us to archive your images, please specify your wish with your submission, and whether or not you want us to return your disk(s).
Payment information and publishing rights
Photo payment is as follows:
Front cover: $300
Inside 2-page spread: $175
Back cover: $150
Inside full page: $100
Full page + additional columns: $100 + $25 per each additional column
Inside half-page or smaller: $75
Photo sequence (for a series of small illustrative photos roughly 1" to 1.5": $40
All photos used will be credited in the magazine. We will credit your photo based on how you label your file (i.e., “John Q. Photographer”, “Photographs R Us” or “joephotgrapher.com”). Photographers whose images are printed will receive five copies of the magazine issue.
Montana Outdoors articles are featured on the Montana FWP and Montana Outdoors web sites. We may include a small JPEG version of the opening spread for each article, or an image of the cover. We will not seek separate permission nor pay additional compensation for this electronic use.
Purchase rights to your photos are for one-time use only, with these exceptions:
1. Limited, small-format, on-line use as noted above.
2. Covers and spreads may be reproduced to promote the magazine.
3. Photographs may be reprinted as part of an article reprint used for educational purposes only.
If we select your photos for an issue, you will receive a purchase agreement indicating the photos we have purchased and the total amount to be paid. Upon receipt of your signed copy of this agreement, Montana Fish, Wildlife & Parks will send a check payment to you.
The Montana Outdoors annual photo issue
Each year, we dedicate our January–February issue to photography. No stories or news items, just the most beautiful, intriguing, and incredible images that cross our desks. For aspiring photographers and part-time photo hobbyists, this is your best opportunity catch our eye. And it's the one time each year that we open the pool to all types and styles of imagery. Sometimes our photo issue is focused around a basic theme, like Montana seasons or Montana wildlife; other years, it's open to simply the most amazing photos sent to us.
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BIG $$$$$$
Contact Scrap Magazine
• Welcome to Scrap
• Scrap Staff
• Scrap Writer’s Guidelines
• Scrap Photographer’s/Artist’s Guidelines
________________________________________
Welcome to Scrap
Scrap is the bimonthly magazine of the Institute of Scrap Recycling Industries (ISRI), a Washington, D.C.-based trade association with about 1,500 member companies that process, broker, and consume scrap commodities, including ferrous and nonferrous metals, paper, glass, textiles, rubber, and plastics.
Scrap has a Threefold Purpose:
• To provide practical and useful information to scrap professionals through articles and columns that will increase the profitability of their businesses. The editorial content of Scrap is designed to stimulate--to help scrap professionals manage all aspects of their businesses more successfully. Each issue communicates a variety of ideas to achieve that objective.
• To provide an editorial environment that will complement the sales message and help enhance advertisers’ profits. A quality editorial product provides additional credence and credibility to each advertisement in the magazine. Scrap wants its advertisers to be profitable and realizes that the editorial setting and target readership it provides are key ingredients to that success.
• To ensure that Scrap generates sufficient income to cover all of its costs, as well as to support ISRI in conducting other education, information, and research programs to benefit the association’s membership.
Scrap is located within the ISRI headquarters and can be reached at:
Scrap
1325 G St. N.W., Suite 1000
Washington, DC 20005-3104
If you wish to contact a Scrap staff member by phone, fax, or e-mail, here’s everything you need to know.
Scrap Staff
Publisher & Editor-in-Chief
Kent Kiser
Phone: 202/662-8547
Fax: 202/626-0947
E-mail: kentkiser@scrap.org
Editor
Rachel H. Pollack
Phone: 202/662-8543
Fax: 202/626-0943
E-mail: rachelpollack@scrap.org
Assistant Editor
Lindsay Holst
Phone: 202/662-8531
Fax: 202/626-0931
E-mail: lindsayholst@scrap.org
Production Director
Ellen Ross
Phone: 202/662-8545
Fax: 202/626-0945
E-mail: ellenross@scrap.org
Advertising Sales Director
Bob Emery
Phone: 440/268-0501
Mobile: 216/832-5927
Fax: 440/268-0502
E-mail: bobemery@scrap.org
Circulation and Advertising Associate
Valerie Hillyer
Phone: 202/662-8540
Fax: 202/626-0940
E-mail: valeriehillyer@scrap.org
Web Administrator
Aaron B. Pryor
Phone: 202/662-8539
Fax: 202/626-0939
E-mail: aaronpryor@isri.org
Scrap Writer’s Guidelines
Though Scrap is predominantly staff-written, the magazine does hire freelance writers. Most assignments are multisource features that focus on topics of interest and importance to scrap recyclers, such as new scrap processing and handling equipment, environmental regulations and legislation, market trends, management and operational techniques, and more. Scrap pays $600-$1,000 depending on the length and difficulty of the assignment. Payment upon acceptance. Byline given.
Writers interested in freelance assignments with Scrap should mail a letter of interest and at least two feature clips to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.
Scrap Photographer’s/Artist’s Guidelines
Scrap uses two to three photographers and two to five artists per issue. Photography assignments usually involve taking 35mm or 2 1/4-inch color images of scrap processing and consuming facilities, including materials, operating equipment, and personnel. Scrap usually pays $600-$1,000, plus expenses, for a one-day shoot. Payment upon receipt of images. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Most artworks are four-color pieces designed to accompany a specific article, with concepts suggested by Scrap and its art director. Scrap usually pays $500-$1,500 per illustration/artwork, depending on the assignment. Payment upon receipt of finished artwork. While Scrap usually buys first rights, full rights are occasionally sought. Credit line given.
Photographers and artists interested in assignments with Scrap should mail a letter of interest and brochures/printed samples of their work to Scrap, Attn: Kent Kiser, 1325 G St. N.W., Suite 1000, Washington, DC 20005-3104.
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