01.08.09
Deborah Joseph - Editor of Brides Magazine
The right advice and inside track on how to get commissioned
How did you get into the magazine industry?
I spent three months doing non-paid work experience for more! and Loaded after leaving university. I made the tea, cleaned out the editor’s office and typed up copy as there was no email in those days!
What was your progression from there?
more! magazine commissioned me to write a few freelance pieces and I got a portfolio together writing for a few other magazines. Then when I staff job came up at more! I was fortunate enough to get it. It was a fantastic training ground, I learnt how to interview celebrities and real people and to put a quirky twist on things.
What was it like working for Cosmopolitan? Is it very competitive within the team?
Cosmo was an incredible second job. It’s such an institution and at the time, was still considered quite risqué. I had some crazy experiences going undercover for reportage features. I was young at the time, and very ambitious and just excited to be there so I wasn’t aware of any competitiveness, I just got on with my own job. Though as with most women’s magazines, there are always a lot of strong-minded, talented and ambitious women on the team.
What was it like working for Glamour with Editor, Jo Elvin?
I’d met Jo when I worked on more! magazine and we got on very well so I jumped at the chance of working with her when she became the editor of Glamour. She was inspiring to work for, a mentor.
For those that don’t know, what does your current role entail?
I’m currently the editor of Conde Nast Brides. My job involves overseeing the shape and vision of the magazine and working with each member of the team to ensure the content is a true reflection of the magazine’s upmarket, glossy values. An editor is also the ambassador for their brand, so I try to get to know as many people in the industry as possible and make them aware of Brides’ success.
What is the best thing about your job?
I love it all! It’s fun, interesting and I get to work with an amazingly creative team who are constantly coming up with new ideas to ensure we stay ahead of the competition. I also get to travel quite a bit which is a passion – we go to NY and Barcelona for the bridal fairs, and of course, it’s imperative that I try out as many honeymoon destinations as possible! Last year, I went on Safari, visited the Maldives, Barbados and Italy – all for work of course.
How important is the photography in Brides magazine?
It’s incredibly important because Brides is such a visual magazine and we are always trying to give our reader modern, new takes on wedding ideas and this is best communicated through beautiful photography and clever styling. Also, the fashion pages set the tone for the magazine, and the fashion editor works to ensure they are beautiful, inspiring and occasionally that little bit edgy. Also, like all Conde Nast titles, we are fortunate to have the opportunity to work with some of the best photographers in the world.
Who are the best photographers you’ve worked with on Brides/in the past?
We’ve just started with a fashion photographer called Chris Heads who I’m really excited is working with us as his images are really quirky and different and bring a new energy to the magazine. He also works for UK Elle and Jalouse. Bryony Toogood, Brides’ fashion editor loves working with Swedish-based photographer Carl Bengtsson who brings a cinematic edge to our pages. We work very closely with a reportage photographer called Nazarin Montag who shoots most of our real weddings. She’s great to work with as she’s totally reliable and her lighting is always beautiful.
We work with a lot of still life photographers like Nato Welton, who photographs our reception pages which are incredibly popular with our readers. He is calmness personified which is a real plus. Also, his lighting is always spot on. In the past, on Glamour, I worked on a lot of celebrity shoots and always loved working with Robert Erdmann because his pictures are surprising and he always gets something new out of a celebrity which is no mean feat. Funnily enough, he started his career on Brides – as did David Bailey and Terence Donovan. Brides has a history of working with great photographers.
What is the best way for a photographer to approach you with images?
We buy all of our pictures through picture agency libraries, so ideally a photographer would be registered with one like Art&Commerce, Rex, Big Pictures and Getty who are the main ones we work with.
What should they definitely not do?
Hassle us with inappropriate images – sorry! We have a specific style, we like all our images to have a fashion feel and we don’t use anything that looks too much like a stock shot.
How important is the collaboration between an editor and an art director?
Extremely important. Every editor needs an Art Director who can translate their vision on to the pages and it’s vital that this relationship works or the magazine suffers. Also, unfortunately, I don’t have the time to search for new photographers so it’s important that the Art Director and Fashion Editor are working together to bring fresh new photographers to the magazine. It’s important for every magazine to evolve otherwise things can look outdated.
Lastly, do you have any tips for photographers?
It’s important for a photographer to have their own original style and that they pitch to a magazine that suits that style.
My best advice to any photographer would be to get an agent who understands how editorial works as opposed to advertising as they are very different, especially when it comes to budgets! It’s also helpful if a fashion photographer has good relationships with talent agencies as good styling, hair and make-up and of course the model, all contribute towards great photography.
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