Audrey Seybold wrote:
How do you find magazines that one's work would be a good candidate for?

Audrey, this is not your domain but rather that of the original creator of the image(s)...  Typically publications have submission requirements which must be adhered to... it is typically the photographer who moves forward with this...

If YOU desire tear sheets it would be prudent to only work with published teams...

In fact that is the criteria of many at the upper reaches of the industry for doing creative testing... the aggregate mission goal is oft publication...   

Hope this helps...

E H wrote:
If you want the rights to publish,, usually you have to pay for the rights fee it is not asked or given for, published = payment to anyone making a living in photography. Can't pay bills or rent if you give everything for free,simply put.

If you want the rights to publish you have to get approval from the photographer, which you already know, and have the proper paperwork filled out by photographer. You don't have to pay for publishing and I understand how much enjoyment comes from being published, especially outside of money.

E H wrote:
if someone wants exclusivity and you used it all over facebook, it is done and gone,, there is no exclusivity.

If a publication wants nonpublished work and the work is only on something as simple as Instagram, the publication will have you take it off Instagram and allow you to republish after they do. Just depends on the publication.

E H wrote:
So if you wish to publish your work(which is actually the photographers work that you model for) be ready to pay some money for the photographer shoot it and the commercial rights ,, commercial rights are not cheap. If you decide to use them and do not have the rights to do so, you can and probably will be sued,, of whch you have little to no recourse without the rights...

Works are the collaboration of everyone involved, not just the photographer. However, the photographer owns the rights. No need to pay the photographer or for the rights.



Outside of such, go to each publication's submission page and just tell them you love their publication and submitting to them. Add the photos and let them know you have the photographer's permission (assuming you actually do of course) and that if they want to work with you, you will then supply them with larger images and photographer's assistance with anything further.

Another way I have been published is from just by messaging magazines via Facebook with a simple message, "I would like to be featured in your publication, would you like to work together?" and they will get back to you if they want to proceed further.

Melissa Kat wrote:

E H wrote:
If you want the rights to publish,, usually you have to pay for the rights fee it is not asked or given for, published = payment to anyone making a living in photography. Can't pay bills or rent if you give everything for free,simply put.

If you want the rights to publish you have to get approval from the photographer, which you already know, and have the proper paperwork filled out by photographer. You don't have to pay for publishing and I understand how much enjoyment comes from being published, especially outside of money.

E H wrote:
if someone wants exclusivity and you used it all over facebook, it is done and gone,, there is no exclusivity.

If a publication wants nonpublished work and the work is only on something as simple as Instagram, the publication will have you take it off Instagram and allow you to republish after they do. Just depends on the publication.


Works are the collaboration of everyone involved, not just the photographer. However, the photographer owns the rights. No need to pay the photographer or for the rights.



Outside of such, go to each publication's submission page and just tell them you love their publication and submitting to them. Add the photos and let them know you have the photographer's permission (assuming you actually do of course) and that if they want to work with you, you will then supply them with larger images and photographer's assistance with anything further.

Another way I have been published is from just by messaging magazines via Facebook with a simple message, "I would like to be featured in your publication, would you like to work together?" and they will get back to you if they want to proceed further.

Maybe someday the photographer(which you want to search alone for,lol to get him to sign off on  rights),,,  will find his images in print and sue you.

E H wrote:

Maybe someday the photographer(which you want to search alone for,lol to get him to sign off on  rights),,,  will find his images in print and sue you.

You have no idea what you are talking about. And it's inappropriate to bring previous forum topics of conversations into a different forum. If I am wrong in what I have said than say so in an explanatory way instead of poking at someone individually without justifying your words or going against mine.

Melissa Kat wrote:
You have no idea what you are talking about. And it's inappropriate to bring previous forum topics of conversations into a different forum. If I am wrong in what I have said than say so in an explanatory way instead of poking at someone individually without justifying your words or going against mine.

I suspect that this is the statement that will trouble the photographers.

Melissa Kat wrote:
Works are the collaboration of everyone involved, not just the photographer. However, the photographer owns the rights. No need to pay the photographer or for the rights.

Since you acknowledge the photographer owns the rights, I wonder if the following sentence is what you meant to say, or if there is some auto correct things that happened in there.  If you said what you meant, you are incorrect.  Nobody has residuals rights to my work unless they have it writing, nobody can sell my work, unless they have it writing.  Even if I sell a painting/photo, the rights to reproduce it stay with me.


OP Audrey
Your profile and OP says you are an artist and you have a background in the fine arts.  I suggest that you solve some of these problems by being the art director on a project and hiring the photographers, or making arrangements with them, so that you own the copyrights.  If you do a search in the forums for threads about copyrights, you will gain a lot of valuable information, some with references cited.   There is also a lot of crap.

here is a work for hire link
http://web.law.columbia.edu/keep-your-c … -made-hire
Within that link, you can look at an associated article about "joint works"

I saw in your OP that you acknowledged the need to talk to the photographer and recognized his/her rights.  The replies you have been getting are interesting.  There is a tendency in the replies to stake out a strong position on the rights of the photographer.  This is not unreasonable, but it also represents the bias of the people responding.  Commercial rights might be expensive. Purchasing the copyrights may be expensive.  Or maybe the photographer will have a reason to work with you on these projects. Perhaps a revenue split?  If you are doing the leg work, and find someone that wants to publish the work you are marketing, then the photographer gets published too.  There may be lots of incentives for him to work with you.  I know I would work something out with you.  I wouldn't mind some exposure but I have zero interest in doing the leg work that you are doing, so I would not be greedy.  I am sure many others would feel the same way.

Hunter  GWPB wrote:

I suspect that this is the statement that will trouble the photographers.

To EH only, not about photographers in general.

Mortonovich wrote:
Audrey,
OK, what you want to do, is find the magazines you'd like to be in. Then contact the photographers that are getting stuff in those magazines as the submissions have to come from the photographer. Make yourself available to test (TFwhatever) with them. See if you can develop a working relationship with them and their team in order to be able to shoot a story that could be submitted.

That's the oversimplified version, but that's basically how it works.

+1

Looking for casting calls the state they're going for magazine submission or compensate tearsheets. As far as the "look to coordinate with the magazine" is concerned, if you are setting up the shoot then you need to research what the magazine in question publishes and adhere to those standards. Otherwise the person (usually photographer) you're shooting with should know.