07.10.09
Caroline Metcalfe - Photographic Director, Conde Nast Traveller Magazine
The right advice and inside track on how to get commissioned
What’s your relationship with photography ?
I am the photographic director of Condé Nast Traveller and as such am responsible for commissioning all of the photography in the magazine, apart from the fashion stories.
You must be inundated with photographers wanting to show you images?
Inundated is the correct term. I probably get upwards of 2000 emails per week of which 150- 200 are from photographers, in addition to numerous phone calls from individual photographers and their agents, as well as written submissions and folios.
What makes one photographer’s work stand out from the crowd?
Essentially, it is the ability of the individual photographer to place his or her stamp and creativity onto a particular image or story. Someone, who can show the world in a new and different light, to provoke, to engage, to make us think harder, to evoke dreams.
Do you think that many photographers are aware of where they are going wrong in both shooting and approaching photo editors?
Many photographers have a very high opinion of their work, some are correct, and a degree of self-belief is absolutely necessary, but I do think that there are a few others who are somewhat delusional. They produce mediocre work that they think is outstanding and original when in fact it is derivative and often dull and uninspiring. Photographers often come in with work that is entirely inappropriate for our magazine. They show work that is more suited to a gallery or other types of consumer magazines. Condé Nast Traveller is a ‘luxury’ brand. We seek out beauty in the world and attempt to show people, places and a lifestyle that are aspirational. I met with a photographer who told me he had ‘fantastic images that would be just beautiful in your magazine’. I was some what surprised to look through a portfolio of shots of empty swimming pools covered in leaves and dirty syringes. There were maybe 10 or 12 shots that this photographer thought would look ‘really great’ in Traveller. Other than shaking my head in disbelief and feeling my time had been wasted, it was hard to find the right thing to say, other than: ‘have you looked at our magazine?’ And this is not a one-off. I also find it difficult when in the course of a very, very busy day I get several emails of just one line, which read ‘here is a link to my website’. I almost always delete them. They show so little understanding about forging a relationship with a photo editor and a magazine. As for approaching photo editors I would say there are a few key ‘dos and don’ts’. Do find out the name of the person you want to talk to or meet with. We are listed on every masthead so it’s not difficult. Do turn your phone off. If I have given up the time to meet with you, it is rude and disruptive to then take a call in the middle of a conversation. Do study the magazine. Familiarize yourself with the individual editorial departments, then you can say ‘I have a great set of images or an idea for the food and drink section or the epic journey or for a traveller’s tale.’ Don’t chew gum while talking to me.
A commission to travel to an exotic location to produce images for a magazine such as yours is many photographer’s dream job, but what’s the reality?
The reality is a 5am check-in at Stansted or Luton for an easyJet or Ryanair flight, then four, or maybe five, days of an intensive shooting schedule and a fee of £100 per published page of images. It doesn’t sound madly alluring. But the pay-off is the wonderful access that we will get you and the end result of a 10 or 12-page, beautifully art-directed and laid-out feature that will give any portfolio a stunning display. In many cases, stories published by us lead to other Condé Nast titles buying them as well as additional assignments, both editorial and commercial.
Cross-commissioning, where you choose a photographer to shoot a story, which is not within their 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?
Cross-commissioning can work and often produces innovative solutions to what can be tricky assignments. More often these days it is a risk that is hard to take. The photographers we send out have one ‘hit’ and have a lot to accomplish in a very short period of time, often grappling with difficult weather and lighting conditions. I am fully aware that the things I ask for while sitting behind a desk in London are not always possible in the souks of Marrakesh or the foothills of Nepal, especially as these days you have to get permission to shoot almost everything. It is a big ask to produce a 12-page story in five or six days. There is a tremendous pressure and I know the work is very demanding. Because budgets are tight we never have the option of a return visit, for this reason I have to feel utterly confident that the person I send out is going to bring home the story and that makes cross commissioning
a risk I can’t often take.
What are you looking for in a photographer’s work?
Originality, perceptiveness, empathy, creativity and inspiration.
And a photographer’s personality?
Photographers I commission are sent off on assignment as ambassadors for this magazine. They need to be people I would get along with, feel comfortable with and people who are talented without being ‘tricksy’ or overly demanding and difficult. There is no place in my world for overbearing prima donnas, dealing with them directly or via an agent. I am happy to say that the photographers we have working for us are hugely talented, warm, funny, entirely professional individuals.
Our final question is always the same: what tips would you give a photographer trying to get commissioned?
Look at the magazine, see if you think that what we are publishing fits with the work you are producing. I like surprises, but ones which will be relevant. Find out my name and my email. Many people just send in a random email to a Condé Nast account. It’s lazy and it won’t get you anywhere.If you are competing with 20 or 30 other people in any given week you need to take the time and trouble to find out who the photo director is and get my attention. Be determined without being pushy. Again, I suppose this is something to do with the personality ‘thing’. I will commission photographers primarily based on the quality of the work, but I need to like them as individuals and want to work with them, to know that we are on the same wavelength. Send me a link to a website of work with a brief explanation of what you’ve been shooting, what your aim was, how you went about it etc. I don’t need or want to see tear sheets as these are versions of the work that have been edited and laid out by other photo editors and art directors to fit their own magazine’s editorial agenda. I only need to see images that I can evaluate in terms of how they would work for Condé Nast Traveller. It is really a two-way street. I need images that will work for the magazine, enhance our pages and add a visual USP to the magazine. In return I think the photographer will have the opportunity to shoot an amazing set of pictures and see them edited and laid out as a beautiful piece of work. There are a number of photographers that I have encouraged and worked with over many years, from people just starting out in their careers to others who have had long and distinguished careers. I love what I do and feel privileged to be able to do it.
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