11.07.09
Wendy Hinton - Photographic Director, Instyle Magazine
The right advice and inside track on how to get commissioned
So tell us about how you became involved with photography and then became a photo editor?
I was working in the features department of Woman’s Journal and every time we did a feature they were looking for visuals. There wasn’t a picture dept at the time and the Art Dept were incredibly busy.
I kept tears of pictures I liked from Vanity Fair etc and used to suggest photographers that may have shot the celebrity we were after. In the end I was pulling all the visuals.
After that I worked at Signature Magazine as a picture researcher. I then went on to ES Magazine to become Picture Editor where I worked for 13 years. I have been at InStyle as Picture Director for 8 years. Both roles included commissioning photography of all genres.
What’s your relationship with photography now?
I commission all aspects of photoshoots from fashion to beauty, covers and features. We have meetings regarding the concept through to its execution taking into account styling, location and whether we want a studio shoot or location. Photographers are chosen when we know exactly what the feel of the shoot should be.
What makes one photographers work stand out from the crowd?
Creativity – great lighting - use of natural Light or locations. Someone who listens and can work along with you
Do you think that many photographers are aware of where they are going wrong in both shooting and approaching photo editors?
A lot of photographers who approach us have not looked at the magazine which is infuriating. The first rule is to know your market and be confident that your work is appropriate. I like to look at websites first and if I like their work then invite them in for a meeting.
Do you get a lot of photographers contacting you?
Yes – mainly by sending in their websites.
Because InStyle is mainly celebrity fashion and beauty shoots, we often have to compile a shortlist of who we like and then send it to the celebrity for approval.
Obviously it helps if the photographer has already shot a celebrity if its an A-Lister. However, I do try and encourage younger photographers where I can but it can be quite difficult to get them on board with the pressure of the celebrity and publicist.
Cross commissioning, where you choose someone to shoot a story, which is not within the photographers usual field of expertise, has long been a photo editor’s and art director’s favourite approach to creating unexpected images. What’s your feeling on this?
I think this can be quite exciting but you do have to know what you are doing. I like fashion photographers who crop in to do a beauty shot. It often feels more relaxed than if a beauty photographer had shot it and they do not tend to retouch so much, which gives a fresher approach or a fashion photographer taking a gorgeous portrait as opposed to doing a fashion story
What are you looking for in a photographers work?
For beauty I don’t like things over-retouched, skin texture and freckles should remain
For fashion – obviously a knowledge of the trends of the season helps Lighting that shows the detail in the clothes and does not make everything look too flat. Perfect lighting for studio – not too bland - or interesting use of location
For interiors, use of natural light helps where possible and is much more flattering to textures of fabrics and walls.
Features – a general feeling of personality in the photographs with out them being cheesy. I think real people need something to do – use of furniture or props. Often actors/actresses hate just standing there.
And a photographers personality?
A firm handshake – I hate limp sweaty ones
Most of the photographers I work with are always polite, professional and good fun which is important.
Because we often shoot celebrities and real people, it is crucial that the photographer treats the subject with respect and after each shot does not talk about the images as if they are not there but include them in the process; obviously not choosing the pictures but it helps to direct them in how you want them to stand/sit/look – they can see what you are trying to achieve.
Ability to take direction. Normally the shoot is discussed beforehand to make sure that everyone is there to achieve the same end – veering off piste on the day can be frustrating unless the circumstances of the situation have changed.
Our final question is always the same, what tips would you give a photographer trying to get commissioned?
Know your market.
We need to easily be able to identify the photographer’s strengths by looking at their work. A well thought out edit is paramount – quality not quantity always.
www.instyle.co.uk
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