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التصوير الفوتوغرافي الحديث
REJECTION SLIPS have VALUE
When a market bounces your work back with a " Sorry , No Sale " tag , analyze why the material proved to be unsatifactory and then you'll be able to capitalize on future submissions .
SOMO TIME AGO when I was editor of one the leading photo magazines the era , there was " contributor " who sent pictures in on speculation 156 times before one print was accepted for pub lication . The fact that he received 156 rejection slips apparently didn't tell him a thing .
You may possibly admire the guy a little because he didn't give up trying , he stuck to it . Actually , he didn't deserve any admiration or sympathy . He became a bore to the editorial staff and it was only out of sheer courtesy that his submissions were looked at and considered every single time . Perhaps another market would have told him off , to not waste their time with submitting anymore unsolicited photos . The fact that one of his pictures finally was accepted was not out of sympathy , it just happened that the picture chosen was one that was needed for a specific pur pose at the time it was submitted .
What should the rejection slips have done for him ? First off , he should have learned that the material was not acceptable because it was not the type of material that the magazine used or , that it was not seasonal . The work may have been tech nically poor because of bad printing , underexposed negatives or transparencies . The photos may have been unsharp or too contrasty . His work may have been very similar to something the publication had printed recently or , it might duplicate material on file or scheduled for an upcoming issue .
There are many things that a rejection slip can tell you if you take a little time to really learn why your work didn't make the grade with a market . Perhaps they don't accept unsolicited material and you should have queried them first . It might be that the work you sent in is the same as something that is done by one of the staff , regularly .
Rejection slips should encourage a freelancer , rather than discourage one . They should stimulate you to research your market thoroughly before submitting any material to them know what kind of material they use and when they use certain types of things . Do submit a complete set of contact proofs of all exposures made on the story or feature along with enlargments of those shots which you think best tell the picture story . The editor might just see some other shots he feels would be better or he might want additional enlargments to round out the spread . You might learn from a rejection slip that your
composition is in need of improvement and there may even be suggestions for making the improve ments . The material you sent may have just missed the mark and the rejection slip may indicate that it could be worth your while to reshoot the subject according to guidelines spelled out in the rejection .
You might find that the market only works with a certain size transparency and won't accept anything smaller than 4x5 " . It is possible that you missed the deadline for certain seasonal types of material most magazines work on a 3 to 6 - months lead time so submission of material for winter issues should be made in the summer or early fall and vice - versa .
Then again , you may have created a poor opinion of yourself and your work because you submitted material of a type the market doesn't buy and you wasted some of their very valuable time - or , you failed to enclose a self - addressed stamped envelope for the return of your material . Perhaps you pack aged the material so securely it required an " en gineer " to figure out how to open it .
You may not have put enough postage on your package and it was received " postage due " if the material is unsolicited and arrives " postage due " , the market will usually refuse to accept delivery . Then again , you may not have packaged the material with protective cardboards and the prints were received so badly damaged they were useless .
Your work might have been sent back as unac ceptable because you indicated that you wanted more payment than that particular market pays . Most pub lications have set rates for freelance material , either based on a per picture price or per published page price . The payment rates are usually based on the magazine's circulation - the higher the number of copies sold , the higher is the payment for material accepted . Or , their rates of payment might be based on the established ASMP schedules .
Never take a negative attitude over a rejection slip , accept them for what they are . They can help you improve your work and they will guide you in help ing you to make sales if you heed their messages . It would be a rare thing for a freelancer to sell everything he produces so , some rejection slips should be expected . When they do come , examine your returned material in relation to what the re jection slip covers . There just might be some real value you might derive from them ! - Ed Hannigan .
التصوير الفوتوغرافي الحديث
REJECTION SLIPS have VALUE
When a market bounces your work back with a " Sorry , No Sale " tag , analyze why the material proved to be unsatifactory and then you'll be able to capitalize on future submissions .
SOMO TIME AGO when I was editor of one the leading photo magazines the era , there was " contributor " who sent pictures in on speculation 156 times before one print was accepted for pub lication . The fact that he received 156 rejection slips apparently didn't tell him a thing .
You may possibly admire the guy a little because he didn't give up trying , he stuck to it . Actually , he didn't deserve any admiration or sympathy . He became a bore to the editorial staff and it was only out of sheer courtesy that his submissions were looked at and considered every single time . Perhaps another market would have told him off , to not waste their time with submitting anymore unsolicited photos . The fact that one of his pictures finally was accepted was not out of sympathy , it just happened that the picture chosen was one that was needed for a specific pur pose at the time it was submitted .
What should the rejection slips have done for him ? First off , he should have learned that the material was not acceptable because it was not the type of material that the magazine used or , that it was not seasonal . The work may have been tech nically poor because of bad printing , underexposed negatives or transparencies . The photos may have been unsharp or too contrasty . His work may have been very similar to something the publication had printed recently or , it might duplicate material on file or scheduled for an upcoming issue .
There are many things that a rejection slip can tell you if you take a little time to really learn why your work didn't make the grade with a market . Perhaps they don't accept unsolicited material and you should have queried them first . It might be that the work you sent in is the same as something that is done by one of the staff , regularly .
Rejection slips should encourage a freelancer , rather than discourage one . They should stimulate you to research your market thoroughly before submitting any material to them know what kind of material they use and when they use certain types of things . Do submit a complete set of contact proofs of all exposures made on the story or feature along with enlargments of those shots which you think best tell the picture story . The editor might just see some other shots he feels would be better or he might want additional enlargments to round out the spread . You might learn from a rejection slip that your
composition is in need of improvement and there may even be suggestions for making the improve ments . The material you sent may have just missed the mark and the rejection slip may indicate that it could be worth your while to reshoot the subject according to guidelines spelled out in the rejection .
You might find that the market only works with a certain size transparency and won't accept anything smaller than 4x5 " . It is possible that you missed the deadline for certain seasonal types of material most magazines work on a 3 to 6 - months lead time so submission of material for winter issues should be made in the summer or early fall and vice - versa .
Then again , you may have created a poor opinion of yourself and your work because you submitted material of a type the market doesn't buy and you wasted some of their very valuable time - or , you failed to enclose a self - addressed stamped envelope for the return of your material . Perhaps you pack aged the material so securely it required an " en gineer " to figure out how to open it .
You may not have put enough postage on your package and it was received " postage due " if the material is unsolicited and arrives " postage due " , the market will usually refuse to accept delivery . Then again , you may not have packaged the material with protective cardboards and the prints were received so badly damaged they were useless .
Your work might have been sent back as unac ceptable because you indicated that you wanted more payment than that particular market pays . Most pub lications have set rates for freelance material , either based on a per picture price or per published page price . The payment rates are usually based on the magazine's circulation - the higher the number of copies sold , the higher is the payment for material accepted . Or , their rates of payment might be based on the established ASMP schedules .
Never take a negative attitude over a rejection slip , accept them for what they are . They can help you improve your work and they will guide you in help ing you to make sales if you heed their messages . It would be a rare thing for a freelancer to sell everything he produces so , some rejection slips should be expected . When they do come , examine your returned material in relation to what the re jection slip covers . There just might be some real value you might derive from them ! - Ed Hannigan .
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