Getting started as a stringer or contributor

Andy, you did not tell use what you shoot. . . it makes a difference. What is standard, is that your images MUST be at least as good but preferably better than what you see them use. You also have to give them something that they do not have or that they want and you have to be "deep" with it. meaning dont make a presentation until you have a lot of great stock, if you get your foot in the door you dont want them to say, come back when you have more we can use. You want to be able to fill orders from the get go. Always, always remember, this is a business you have to look at it from their perspective. . . Also, often publishers like to see new, fresh material so you might be surprised to learn that you will get chances if you fresh and have lots of good images then the chalange will be keep producing them. You have to give them a reason to keep using you. . .

What are you shooting?

When dealing with Newspapers there are somethings you need to keep in mind. Emailing alone is not an effective way to communicate with a paper. Newspapers can take day or two to look at email. Pick up the phone call them. Introduce yourself to the Managing Editor and ask who would be a good contact for submitting work and what are their requirements. When you submit work remember to call the newsdesk and let them know photos are the way.
Things to remember:
1) Photojournalism is words and pictures. So you need to write a cutlines for photos. That means telling who is in the photo, what is happening in the photo, when it was happening and where the people are from.
2) Timeliness is extremely important. For a daily paper think within 1-3 hours of the event is your best window, For a weekly with in that day.
3) Minimum image requirements on average a 6.5 inch wide photo should be at 200 pixels per square inch. JPEG format. Do not send Raw.
4) Keep the photoshop to a minimum just some burning, dodging and color adjustment.
5) Story information, If you can write a story great but if you can't, get sources and phone numbers for a paper to contact (Event organizers, local authorities and participates).

Here more information on Freelancing and How to Cover Breaking News.

Thanks for the responses...

As far as what I'm shooting, I'm really shooting anything & everything. I'm just as comfortable shooting sports & action, as I am shooting people, as I am shooting art, or anything else for that matter. I don't have specific focus (pardon the pun...lol). My real love is shooting sports and action. But that's just personal preference. I guess my ideal situation would be to land a staff position at the paper or a magazine, but I understand that less than likely on the first swing. So short of that, my goal would be to have my name on a list that the editor goes down when they need someone to cover the ribbon cutting ceremony at the new boy scout camp, or to cover the dog show at the fair grounds, or the fire at the warehouse, or in the perfect world, the local college's baseball game or whatever it happens to be..

I'm confident in my photographic abilites and professionalism. I'm just lacking confidence (at this point) on how to approach the next step.

Here's a quick portfolio of my work...if anyone is interested.

http://www.flickr.com/photos/andyframe/sets/72157607003665579/

Hi Andy!

First off, good luck to you, there's about 200 people looking for each job that's available. That said, openings do occur and we (I work for a paper) are always looking for good, reliable stringers. In fact, right now, even with the downturn in the print media, we would love to have two or three more stringers available.

My suggestion to you is don't bother the managing editor, he'll just turn you over to the photo editor anyway and if you try to see a managing editor, it may be weeks before he or she can set an appointment with you. The photo editor/director of photography is the direct contact anyway, so go there first. I would highly recommend a phone call to set up a personal interview. If you just send an e-mail, it may not get answered. (I come in every day and have to weed through about 100 e-mails just to catch up from overnight). Three things to remember when going to an interview with a newspaper photo editor. First, he wants to see your best work. It doesn't have to be photoj work, but that will certainly help. (And if all a person has is pretty flowers and portraits, he really shouldn't be applying for a stringer job with a newspaper anyway). Second, be prompt. All of us at a paper are really busy and don't have time to wait around for a late appointment (also be prepared to wait, if breaking news hits, you will be put on a back burner). Third, present a professional attitude. Don't be tentative. Be prepared to discuss photo issues, both about photography and ethics. Not saying this will come up, but it could. Also as part of a professional attitude, wear nice clothes--you don't have to wear a suit, but don't come to an interview wearing a t-shirt and old jeans.

As a stringer, you will have to understand that there may be days or weeks between assignments when you first start. You will be given crap assignments at first to see how you do. Pay is not good (although the AP is paying pretty well these days). In most cases, you will have to sign a contract stating that the images you shoot while on assignment for "xyz" paper are the property of said paper and you will have no rights to them with the exception to using them for self-promotion.

As for format of your portfolio, I would bring in a nice print portfolio but have a cd available to leave with the photo editor along with a one-page resume (best if this is included on the cd.) with all your contact information. If you have business cards those would also be great to leave.

Again, good luck!

Jerry

" Pay is not good (although the AP is paying pretty well these days)."

I figured as much, However, what should I expect dollar-wise when given an assignment with a shot that ultimately gets published... so as not to sell myself short, nor get taken advantage of as a 'rookie'.

" In most cases, you will have to sign a contract stating that the images you shoot while on assignment for "xyz" paper are the property of said paper and you will have no rights to them with the exception to using them for self- promotion. "

I'm surprised about that... I figured as a freelancer you'd be able to keep the rights to the images or at least with the paper having 1st right of refusal. So if that's the case, (not having any rights) what happens when you stumble on an image that may have regional or even national significance? or something that may lead to considerable distribution or future re-prints. If you retain no rights, does that mean you get paid your little stipend for the time on the assignment and the paper collects big while your picture is on the AP wire and playing across CNN?

Thanks for all the great info, gentlemen!

Andy,

As for pay, that will most definitely depend on where you are located and how big the paper is. AP pays depending on geographic region, i.e. the larger the market, the higher the pay. Out here (Las Vegas) they pay $250 per assignment. I've heard that they have just gone to this rate in Los Angeles also. I don't know what they pay in the midwest, but they average around 250-300 on the east coast. Papers usually have a standard rate they pay all stringers and usually don't "stiff" the newby.

Yes, in fact most papers and especially the AP require a contract stating they have full rights. If you are working (received an assignment) for a paper and that picture goes on to make the paper a mint (highly doubtful) then they get to keep the money unless they have an agreement to split proceeds with the photographer (some do). However, bear in mind that AP doesn't pay papers for use of their photos. Neither do television stations that have AP accounts. There are exceptions which would probably fill another thread, but bottom line is very rarely do photos pay big bucks on distribution on AP. NOW, if you happen across a photo and take it down to the local paper, THEN it's yours and they are generally buying one-time rights. Of course, you can always go directly to some big agency if it's really a once-in-a-lifetime shot and get them to represent the photo.

A good example of how you don't get residuals for photos from AP is the photo from the Vietnam war of the nude little girl running from a napalm attack. The photographer was Nick Ut, who still works for the AP in their LA office today. He was a stringer at the time of the photo. He has never received any residuals from that photo and the AP has made many, many thousands of dollars off the licensing of it. Of course, they got Nick out of Vietnam and gave him a job he's held for his whole life (he was 16 when he shot the photo) so I guess you could say he's been amply reimbursed for the photo.

It can be argued that papers shouldn't have total rights to the photos, but their reply is that the stringer wouldn't have been at the time and place without the assignment from them. Right or wrong, that's the way it is. Take it or leave it.

Jerry

Hey Andy,

I don't work for a paper or anything, but I just wanted to say that I like your work. I want to give you credit for putting yourself out there. That's 90% of it. Keep it up and I am sure you will find your bliss!

Thanks Ted...

this is all such great info. I unexpectedly lost my job of 7 years as a Fleet Manager on Monday. Instead of freaking out and getting myself all negative, I decided that I'm sick of making a living doing something I have no passion about... just putting in time to collect a check. So instead, I feel that losing my job is the opportunity I need to go out on a limb make a living doing something I LOVE. stringing for the paper, shooting weddings, corporate work, portraits, little league, whatever. It's all going to start right now. I have the full support of my wife and kids. the only thing that holds us back is fear, anyway. fear of not being good enough, not having the right equipment, or whatever.

We got a couple bucks to keep us tided over while we build our business. But it IS going to happen and with the encouragement and great info and guidence from the people like you all, I have no doubt we can't be successful...

Thanks!

The AP is paying pretty good these days? Funny, I know quite a few people working full time for AP, and they all say the same thing: "You can't spell cheap without AP."

Well, it all depends on what you call "good pay" I used to work for AP in the 90's and our base pay in Los Angeles was $55k per year. These days, I'm sure it's higher. Also there is "merit" pay. And, of course, since AP makes its own pay rules, if they really, really want you, they can pay alot more. One photographer I knew was making over 75k for them. And let's not forget overtime. Many photographers in the 90s would almost double their pay with overtime. I have heard this has been much curtailed now, (I haven't been with AP for 10 years) but they still put in a lot of overtime. How much do you think the photogs at the Beijing Olympics put in? I'd guess around 12 hrs per day for 16 days straight (maybe one or two days off during that time).

Now to some out there who are doing commercial work, 55k + overtime isn't much, but it's a livable wage and there are hundreds of photographers who would jump at the chance to work for an organization like that. I remember one time when one of the photographers was grousing about how she was having a crappy day. I told her, "Look, all you have to do today is sit on a stool for 3 1/2 hours on a nice sunny day shooting a S.F. Giants game. Then spend another hour and a half in the darkroom (still using film then). That's it. Do you know how many people would kill for a job like that?"

As for the "can't spell cheap without the AP" it's a common line we all used. I'll bet most are still working for AP when they say that. Come on, how many people gripe about their pay? I bet even Bill Gates says "I wish I were making more money" once in a while.

Jerry

Is that T. Gregory Lynch of Star-Democrat fame by any chance?