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Title: Making Your Camera Pay



Author: Frederick C. Davis



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MAKING YOUR CAMERA PAY







By



FREDERICK C. DAVIS







NEW YORK

ROBERT M. McBRIDE & COMPANY

1922



Copyright, 1921, 1922

_Photo-Era Magazine_



Copyright, 1922, by

ROBERT M. MCBRIDE & CO.



_Printed in the United States of America_



Published, 1922









A WORD BEFORE





The demand of publishers for good pictures is increasing. Editors

are eager to use the best photographs that may be obtained. They

draw no distinction between the work of the amateur and that of the

professional photographer. If a photograph meets their requirements,

they buy it and care little whence it comes. The opportunity to sell

good pictures has never been better than it is to-day.



To give accurate and helpful information with regard to making the

camera a profitable investment is the purpose of this book.



Frederick C. Davis is well-known to readers of photographic magazines,

and is a practical photographer in addition to being a successful and

experienced professional writer. Mr. Davis has written this monograph

in a non-technical style that will entertain the reader and encourage

him to make the most of photography.



This little book is a practical, up-to-the-minute answer to the

question: "How can I make my camera-work profitable?"



A. H. BEARDSLEY,

Publisher, _Photo-Era Magazine_.









CONTENTS





CHAPTER                                          PAGE



      A WORD BEFORE                                 v



   I. WHAT IT'S ALL ABOUT                           1



  II. THE TOOLS OF THE TRADE                        6



 III. WHAT TO PHOTOGRAPH                           11



  IV. WHAT NOT TO PHOTOGRAPH                       23



   V. SIZE, SHAPE AND FORM                         29



  VI. WHERE TO SELL                                35



 VII. A SURVEY OF MARKETS                          43



VIII. SHIPPING THE PRODUCT TO MARKET               60



  IX. THE PRICES PAID                              65



   X. ART PHOTOGRAPHS                              72



  XI. COMPETITIONS                                 74



 XII. PRINTS FOR ADVERTISING                       78



XIII. COPYRIGHTS AND OTHER RIGHTS                  82



 XIV. ILLUSTRATED SPECIAL ARTICLES                 88



  XV. THE HIGH ROAD                                93









MAKING YOUR CAMERA PAY









I



WHAT IT'S ALL ABOUT





Whence come the thousands of photographs used every month by newspapers

and magazines?



More than that, whence do the photographs come which are used by makers

of calendars, postcards, for advertisements, and for illustrating

books, stories and articles?



At first thought, the answer is, "From professional photographers and

publisher-photo-services." But professional photographers do not

produce one-third of the photographs used, and publisher-photo-services

are supplied by that same large number of camerists that supply

publications with most of their prints.



No one can deny that the greatest number of prints published are bought

from amateur photographers in towns no larger than the average, and

sometimes smaller.



The camerist does not have to get in an air-ship and fly to Africa in

order to produce photographs that will sell. Read what Waldon Fawcett

says, himself a success at selling his photographs:



"The photographer is apt to think that all his ambitions would be

realised if only he could journey to foreign shores or to distant

corners of our country; or if he could attend the spectacular events

that focus the attention of the world now and then. _This is a

delusion. The real triumph is that of the photographer who utilises the

material ready at hand in his own district, be it large or small._"



And more, a person does not have to be an expert photographer in order

to succeed at the work. Here is what one prominent writer says about

it:



"The requirements of the field are well within the capabilities of even

the beginner in photography, viz.; the ability to make good negatives

and good prints, the ability to recognise news-value, and a methodical

plan to find the market where the prints will find acceptance. The man

or woman who can meet these requirements should be fairly successful

from the beginning, and will open up quickly new avenues of special

work and profit."



In short, ability to make metaphors, create lovely heroines or such is

not at all necessary to the successful selling of photographs to

publications.



Is the field overcrowded? _No._ If there were ten times as many

persons engaged in the work they could all keep themselves busy.



The field--how wide is it? Get out your map of the world. The field for

_making_ photographs extends from the top margin to the bottom, and

from the left to the right. The field for _selling_ photographs--which

is more to the point--extends over about five thousand publications

which use prints; not to speak of a few score of other markets.



The markets may be classified briefly:



    (1) Newspapers

    (2) Magazines

    (3) Postcard-makers

    (4) Calendar-makers

    (5) Art-study producers

    (6) Illustrations for books

    (7) Illustrations for articles

    (8) Prints for advertising.



And there are more, of more specialised branches.



And how does it pay? Please note: "A certain magazine once paid $100

for four prints of sundials. An amateur, who happened to be on the spot

with a kodak, made over $200 out of a head-on railroad-collision. A New

York professional netted $125 from the newspaper-use of a

wedding-party, of considerable local prominence, which was leaving the

church after the ceremony." One amateur "realised $300 a year for two

or three years from a lucky snapshot of eight pet rabbits in a row."



A set of South-Pole photographs brought $3,000 from _Leslie's_ and

$1,000 more from the International Feature Service. These all, though,

are very exceptional instances. The average print sells for about three

dollars. But there is absolutely nothing in the world to hinder a

wide-awake person with a camera from making from several hundred to

over $3,000 a year from his prints. If he becomes a specialist he may

earn as high as $5,000 or even more.



No discrimination is made between press-photographers. The person wins

who "delivers the goods."



However, I do not mean that the instances of $200 or so for prints

should be taken as the prices ordinarily paid. I do not maintain that

there is a fortune awaiting the man with the camera; but I do say there

are unlimited possibilities for salable photographs and almost an

unlimited number of markets for them. But there are not "barrels of

money" in it, for all. A person may add appreciably to his income for

having sold photographs; and having developed the trade to a high

degree, he may cash cheques to the amount of $5,000 or more a year. But

not every one. Just some. And it isn't like the log and the falling off

it. It's work--hard work--_hard work_.



Success at selling press-photographs does not depend on the size of the

town you live in, the cost or manufacture of your apparatus, or on your

literary ability. It depends on you and your worship of the homaged

gods of success if you would sell photographs. The gift of these gods

is the ability to make good.









II



THE TOOLS OF THE TRADE





Have you ever wakened in the drear dead of a dismal night, possessed

body and soul with a great desire--an incontrollable, all-moving,

all-consuming, maddening desire that knows no satisfaction--a desire

for a new camera or a better lens? It is a sensation more disconcerting

than that of the father who is detected by his small son in the act of

rifling the latter's bank for car-fare. Never would I be so unwise as

to cultivate that desire in any one; for that reason I do not here go

deeply into a discussion of the best kind of camera for

press-photography! Unless the camera you now possess is of a hopelessly

mediocre grade, it will do very well.



A reflex camera is of course the ideal instrument for the purpose, for

sharp focusing is so easy and so necessary. The high speeds of the

focal-plane shutter incorporated into such a camera will rarely be

utilised by the average user; but its other features are admirable.



However, the hand-camera of the folding type is supreme. It is so light

it can be carried for a long time without fatigue; the user of one is

inconspicuous when making exposures; the cost of operation as well as

the original outlay is comparatively small--and there are several dozen

more things in favor of it, including its greater depth-of-field, which

is most important.



The lens is the heart of the camera, and some cameras have

"heart-trouble." If you intend seriously to market photographs you

should possess an anastigmat lens; not necessarily an F/4.5 lens, nor

even an F/6.3 lens if too expensive; in that case an F/7.5 lens will do

very well. An F/7.5 anastigmat is slightly slower than a

rapid-rectilinear of U.S.4 aperture; but its excellence lies in its

ability--as with all anastigmats--to form images of razor-edge

sharpness, which is a prime requisite of a print intended to grace a

page of a periodical. A rapid-rectilinear lens will do very well if you

are always assured of sunshine or bright clouds to supply

exposure-light--and in such conditions even the lowly single-achromatic

lens will suffice.



Now you see I have agreed that virtually any lens that will form a

sharp image will meet the requirements. Indeed, to paraphrase Lincoln:

"For the sort of thing a lens is intended to do, I would say it is just

the lens to do it." In other words, each lens has its limitations and

abilities very sharply defined; and these limits the user must know and

appreciate.



And the shutter; it is folly to put a poor lens in a good shutter, and

just as absurd to do the opposite. An expensive shutter with high

speeds cannot be successfully used except with a lens capable of large

aperture--otherwise underexposure will result. A speed of 1/300 second

is the highest available in an ordinary between-the-lens shutter, and

that is sufficient for almost anything.



The slower speeds, as one-fifth, one-half and one second are in my

opinion more usable than the extremely fast ones. Speeds varying from

one second to 1/300 second are embodied in two well-known shutters: the

Optimo and the Ilex Acme. The one is on a par with the other. But no

such high-grade shutter is needed unless the high speeds are necessary

to the user, for the slower speeds may be given with the indicator at

B. But enough! This is not a manual on the elements of photography.



The requirements of the apparatus to be used for press-photography are

that the lens produce a sharp and clear image, the shutter work

accurately, and the whole be brought into play quickly.



I have used every sort of camera; reflex, 8 x 10 view, 5 x 7 view,

hand-cameras with anastigmat, rapid-rectilinear and single lenses, and

box-cameras, and they are all entirely satisfactory "for the things

they were intended to do."



The camera I have used most and which is my favorite is a Folding

Kodak, that makes 3-1/4 by 4-1/4 photographs, and is equipped with an

Ilex Anastigmat working at F/6.3, in an Ilex Acme shutter. To this I

have added a direct-view finder for reasons apparent to any one who has

tried to photograph high-speed subjects by peeking into the little

reflecting-finder. This camera has served me admirably for interiors,

flashlights, outdoors, high-speed work, portraiture, and anything else

to which I have applied it. Your own camera should do the same for you.



A photographer comes to know his camera as a mother knows her baby--and

if he doesn't he will be no more successful than the mother who does

not understand her child. The camera-worker must forget all about

manufacturers' claims and should judge his tool by experience; he must

ignore most of the theory and rely wholly on practice. In short, he

must know his camera inside and out, what it will do and what it will

not do; everything must be at his finger-tips ready for instant use.

Coupled with that is the need of the ability to produce, sometimes,

within an hour after making the exposure, crisp, sharp, sparkling

prints.



After all, no more qualifications are required of the

press-photographer than of most other photographers. He may have to

work like lightning, snap his shutter literally under the very hoofs of

racing-horses, rush out of a warm and cozy bed into a chill and bleak

night--but "it's all in the game." If any one of the old veteran

press-photographers were to lead the life of an ordinary business-man,

he would die of ennui. When the camerist makes photographs for

publishers it is zip-dash--and later, cash.



It is the exciting life of a never-sleep reporter, with a camera to

manage instead of a pencil.









III



WHAT TO PHOTOGRAPH





If you wish immediate wealth you have only to locate several

oil-pockets and dig into them. Similarly, if you aspire to success at

marketing photographs you have only to discover the needs of editors

and to satisfy them. But although there are not many more available

oil-pockets, there are many editors and innumerable editorial needs.



It would be as absurd for me to attempt to state precisely what you

should photograph as it would be for me to make a pencil-dot on a map

and to say: "There's an oil-pocket; go dig into it." The one way to

discover the needs of editors and how to satisfy them is to develop a

"nose for news."



A "nose for news" is simply the ability to determine the value of any

certain photograph to any certain editor. The several ways of acquiring

that very necessary ability are: (_a_) by experience, which consumes

the most time and is the most difficult; (_b_) by examining the nature

of photographs already sold to publications and printed in them, which

is less difficult and just as effective; and (_c_) by careful study of

prevailing editorial needs and market-demands, which is the best method

of all.



To succeed, mix thoroughly liberal quantities of (_a_), (_b_) and

(_c_).



Not many, other than the large metropolitan newspapers, employ

staff-photographers; and if a smaller one does, the photographer is

usually a reporter who has much scribbling to do besides. When most

newspapers require a photograph of something local, the city-editor

telephones to a commercial-photographer and tells him to "get it."

Thereupon, the commercial-photographer packs up his forty-pound outfit,

goes out and gets it.



However, a good many subjects are not of sufficient interest to cause

the city-editor to dispatch a commercial-photographer to obtain them;

but, if photographs of those same subjects were brought unsolicited to

him he would at once see their value and buy them. That is the biggest

advantage of the free-lance photographer with the newspapers.



If the press-photographer wishes to follow these tactics he may profit,

even in a very large city; for staff-photographers go where

city-editors tell them to go, and city-editors have much to think

about.



The kinds of subjects bought by newspapers from free-lance

photographers are those of local interest, brought to the office while

the interest in them is still keen. A large number of such subjects are

available daily. The news-photographer may glean his tips from a

morning-newspaper and sell his prints to an evening-journal. When he

becomes sufficiently well known, he may be called upon and dispatched

after a photograph just as the commercial-photographer. But first he

must impress the editorial mind by giving it, unasked, the very sort of

thing it wants.



The free-lance photographer should see possibilities in many subjects:



    A public building burns.

    A corner-stone is laid.

    An illicit still is found.

    A new building is erected.

    A murder occurs.

    A new fire-department truck is bought.

    The governor comes to town.

    Josh Jones finds a hen's egg three-times normal size.

    A park is improved.

    The first baseball-game is played.

    The robber of the postoffice is caught.

    I. Wright, the local author's new book, is published.

    The local inventor again invents.



Any one of these suggestions holds possibilities for photographs useful

to a newspaper; and many more events are just as promising.



The types of photographs used by postcard-makers are known to almost

every one. The subjects run from famous buildings and historical

monuments to artistic human-interest pictures such as a small kitten

sleeping with its feet entangled in a maze of thread with which it has

been playing.



At that point, merge the demands of the calendar-makers. They use the

human-interest type, and run to landscapes, seascapes, and portraits of

pretty girls. Usually the demand of both postcard- and calendar-makers

is that the picture tell a story. If it can be used without an

explanatory caption, all the better. For an example of a picture-told

story, glance at almost any cover of the _Saturday Evening Post_ and

note how the whole situation is made clear without one word of

explanation. It is that kind of photograph that postcard- and

calendar-makers want. If you will glance over the postcard- and

calendar-illustrations you have at hand you will readily see the types

of photograph used.



Sometimes book-publishers send out calls for special kinds of

photographs they need in preparing certain books. In that case, they

usually advertise in an appropriate magazine and mention the kind of

photograph they wish; for example, historical prints if a history is in

preparation. The unlimited variety of books published calls for an

unlimited variety of photographs. Certain publisher-photo-services make

it their business to supply publishers with the photographs they wish;

but that is not hurtful to the prospects of the free-lance, for the

photo-services must obtain photographs of every kind from every source,

and must be stocked with a larger number and variety of prints than any

one magazine or publisher could possibly use. Thus, in fact, the

news-photographer has an increased market.



The largest field for the free-lance photographer I have left until

last; that is, the magazines. There are so many magazines and such a

variety of them that almost any print, if it is of interest at all,

should find a place with one of them. Besides the large magazines there

are many smaller ones; those devoted to almost any conceivable

vocation, and others to almost any interest or hobby.



Besides the publications issued for the great mass of the reading

public, there are magazines published solely for advertisers,

architects, real-estate agents, automobilists, bakers, confectioners,

cement-users, drug-stores, dry-goods merchants, electricians,

engineers, miners, bankers, financiers, fraternal members,

furniture-dealers, millers, grocers, hardware-sellers, historians,

hotel-owners, owners of restaurants, jewelers, labor-union members,

lawyers, insurance-agents, soldiers, sailors, municipal workers,

printers, publishers, railroad men, magicians, fox-raisers,

blacksmiths, fruit-growers, undertakers, stamp-collectors, and scores

of others, not to speak of almost two thousand house-organs issued by

manufacturers as sales-promotion literature or for the benefit of their

employees. And each of these uses photographs occasionally, if not

regularly. The photographer need not deplore a lack of sufficient

markets for his photographs.



The greatest influence toward the development of a "nose for news" is

the giving to it of several whiffs of news. A photographer may

"shoot"--a professional photographer never photographs--he shoots--he

may shoot and shoot, and have his every photograph returned to him as

useless for publication--but not if he first discovers what to

photograph and what not to photograph.



As a means toward that end I have selected, at random, issues of three

magazines whose pictorial sections contain prints which are, broadly,

just the sort of photographs the photographer in a medium-size town

produces. The magazines are _Popular Science_, _Illustrated World_, and

_Popular Mechanics_; despite their names, these magazines print

photographs of a very general scope--more general than one would

suppose. I have selected only photographs with short captions, or those

with explanatory articles not more than two hundred or so words in

length.



In _Popular Science_ I find:



    An Apartment-House for Plants.

    A Hospital on Wheels.

    Potato-Gathering Made Easy.

    This Rudder Makes the Boat Behave.

    New Light for the Photographer.

    He Wears a Showcase.

    A Rubber Heel with a Noise.

    Milking Cows by Electricity.

    Anchoring Bricks to the Side of a House.

    Sketching on Fungus, One Artist's Hobby.

    Sampling the Soil.

    Making House-Wrecking Easy.

    A Machine that Harvests Crimson Clover Seed.

    Wheel-Guards that Save Life.

    Working Safely on High Voltage Lines.

    A Lake that has a Crust of Salt.

    Punching Your Votes.

    Your Money is Safe in this Bank-Tank.



In _Illustrated World_:



    Motorized Wheel-Chair for Invalids.

    Whirr of Motors Replaces Song of Cotton-Pickers.

    How Aristocrats of Dogdom Travel.

    Perform Marriage-Ceremony in Oil-Filling Station.

    Rail Motor-Trucks for Short-Line Road's Use.

    No More Backaches from the Lawn-Mower.

    Novel Arrangement of Air-Hose for Work-Benches.

    Largest Milk-Tank in the World.

    Comfortable Footrest for a Rustic Seat.

    Dog Hurt in Auto Accident Wears Wooden Leg.

    Street-Cars Adopt "Pay-As-You-Leave" System.

    Dentists' Scales for Weighing Mercury.

    Toy Makes Spelling Easy for Kiddies.

    Small Check-Book in Silver-Case.

    Nine-Story Building Collapses.

    Traveling Mail-Box on Interurban Car.

    Clever Method of Advertising Perfume.

    Makes Suit Out of Stamps.

    Wellesley Girls Have a "Sneezing Closet."

    Raising Chickens on a Back Porch.



In _Popular Mechanics_:



    Owner of Artificial Hands is Proud of Dexterity.

    Imperishable Burial Robes Shown on Living Models.

    Novelty Window-Sign Spells Words with Snowflakes.

    Imposing New Bridge at Jacksonville.

    Street-Sign Calls for Help if Robbers Invade Store.

    New Style Log-Cabin Built Like Stockade.

    Vines Completely Cover Office-Building.

    Beautiful Ice Stalagmites are Pranks of Jack Frost.

    Unique Wood-Sculptures are Work of a Decade.

    Electric Warehouse-Truck Performs Heavy Tasks.

    Hydraulic Jack Tears Up Street-Car Tracks.

    Man-Power Onion-Planter Sets an Acre a Day.

    Grotesque Images Reward Motor-Cycle Race Winners.

    Weak Derrick Starts Work of Steel-Building.

    Concrete Logging Piers are Used in Lumber-Industry.

    World's Largest Clock Keeps Accurate Time.

    Grotesque Face on Auto Advertises Carnival.

    River-Bed Proves to be a Rich Coal-Mine.

    Outlets of Odd Shapes Made for Irrigation.

    Unusual Park-Playground Built in Circus-Form.

    Giant Vase, Lawn-Ornament, is Made of Concrete.

    Old Silo in Railroad-Yard Houses Little Store.

    Street Rises so Abruptly Four Flights of Steps are Necessary.

    Church Uses Bill-Board to "Sell" Scriptures.



This wide variety of subjects cannot but serve to show that even in

very small towns there are many opportunities for salable pictures.

More than that, there are markets for prints of:



    Statues

    Blacksmith-shops

    Farm light-plants

    Sheep

    Landscapes

    Paintings

    Girls' heads

    Farm-buildings

    New inventions

    New achievements

    Live game

    Birds in flight

    Industrial arts

    Fields of grain

    Desert-views

    Domestic animals

    Poultry

    Harbors

    Garage-methods

    Railroading

    Concrete-construction

    Flowers

    Electrical appliances

    Live-stock prize-winners

    Art-museums

    Motorboats

    Musical work

    Shoe-factories

    Prize-dogs

    Yachts

    Farm-scenes

    Mural decorations

    Seascapes

    Gardening operations

    Interior decorations

    Designs

    Camping-scenes

    Trapped wild animals

    Freaks

    Cattle

    Orchards

    Time-saving plans

    Social progress

    Fashions

    Wharves

    Paint-departments

    Mills

    New banks

    Large estates

    Factory-equipment

    Show-window displays

    Store-fronts

    Motorcycles

    Economic interest

    Good and bad roads

    Spraying-methods

    Counter-displays

    Blasting

    Landscape-gardening

    Sports



If you live in a large city you have the additional opportunities to

obtain photographs such as are published in the _Mid-Week Pictorial_

and the _Illustrated Review_, and also in some of the large national

magazines and in the rotogravure-sections of the leading Sunday

newspapers. Although the large city offers more opportunities for

photographs of celebrities and such, there is much competition. The

photographer in an average-size city may not have frequent

opportunities for photographs of renowned persons; but he has many

other chances for salable photographs, which evens up things.



Sometimes, a notable person does come to town; but I would no more

presume to tell you here to camp on his trail than I would dare to

remark to a duck-hunter: "Pardon me, old man, but you'd better pull

your trigger. There's a bird right where you've pointed your gun."









IV



WHAT NOT TO PHOTOGRAPH





Knowing _what_ to photograph is no more important than knowing _what

not_ to photograph. I cannot show you so easily by example the kind of

photographs editors will not buy; for a search of any number of

magazines will fail to unearth such examples.



Experience is an expensive school; but, sometimes, the others are

closed because of lack of patronage. It would seem that when you learn

_what_ to photograph you should learn automatically _what not_ to

photograph; and, indeed, you should; but you don't. However, there is

another way. After sending a photograph to a score of publications, and

after the photograph is returned from the same score of publications,

you may truthfully say: "Well, I've discovered one thing that those

editors don't want."



Editors have very clear reasons why they don't buy certain kinds of

photographs. The editor is there to produce a live, newsy, unusual

publication. He buys only live, newsy, unusual photographs. What could

be simpler?



Publications do not want photographs which are similar to other

photographs that they have already printed. The reason is obvious. To

take an example from my own early days: a shoe-dealer, for an

advertisement, placed a huge pair of shoes, size 35, in his window. I

grasped the opportunity to make a salable photograph. It did sell; but

not to _Popular Mechanics_, for the editor wrote that he was unable to

use it because he had printed, several months before, a picture of a

huge pair of shoes made for a circus sideshow worker. Consequently, the

subject of your photograph may be just the thing the editor would want

if he hadn't had his requirements already satisfied. Therefore, study

those photographs which have been printed, and make newer and better

ones.



When the King of England comes to town, it may be all very well to

command him to stand still, to look serious or to smile, for a picture

of him so posed may be literally "eaten up" by the local newspapers;

but a national weekly, such as _Collier's_, demands something

different. Posed photographs are at a discount. They are too plainly

"pictures of men having their pictures made." What is wanted are life

and action. It isn't necessary to ask the King to stand on his head.

Ask him to shake hands with the Chief-of-Police; or let him do

something else which shows he has the power of action.



On an invaluable rejection-slip prepared by a national magazine,

examples are given of "What we want and don't want." Under a photograph

of Senator Johnson with upraised fist, as if he were driving home a

point in his speech, is printed: "Here the upraised fist does the

business--makes action, life--and transforms what would otherwise be

just an ordinary likeness of Senator Johnson into a striking and

arresting picture."



But if a photograph is sufficiently unusual it may be without life and

yet may sell, although it gains materially by a show of action. Under a

photograph of a floating submarine, the rejection-slip notes: "No

action here; but it is safe to say that few of the readers of this

magazine skipped this one when it appeared. Submarines are common

today; but not the kind that carry huge twelve-inch guns." Similarly

under a photograph of three men standing in a row and looking with a

"where's-the-birdie?" expression at the camera, the caption is: "A

posed picture and, as is usual in such circumstances, a dead one. We

used it because a story centering around these men was a singularly

interesting one appealing to a large audience in America." But no

matter how extraordinary a photograph is, it gains a hundred-fold by

exhibiting signs of _life_.



True, a "dead" picture may sell; but a live one will sell more quickly,

and the photographer's work will be more in demand, and the resulting

cheque will be larger--much larger.



If you make a photograph of a building--even for instance, a new

arsenal--you will never sell it to such a publication as the New York

_Times_ roto-section. The rejection-slip says, under such a picture:

"There isn't even a human being in it to relieve the severity of the

building's hard lines and the flat expanse of water. We do not care for

such pictures." True, a photograph of a building--and of a building

only--may sell for a few dollars to an architectural magazine; but more

dollars and a bigger future come from putting life into photographs and

in getting your work into the national weeklies as a result.



Again, no magazine wishes to buy a photograph of something not new. A

monument, if photographed a moment after the unveiling and with the

crowd around it, is a likely seller; but if the photographer waits

several years, a print of the monument is unsalable. And that is not

strange: you prefer fresh to cold-storage eggs.



The big secret of the successful press-photographer is the introduction

of human beings into his photographs of inanimate objects. Human beings

have a deep interest in each other. When one is introduced into a

picture, human-interest is introduced at the same time; and, if the

human being is pictured in the act of doing something, the interest is

even higher. For no one ever outgrows the question, "What ya doin',

mister?"



_Popular Science Monthly_ says: "We want good, clear photographs of a

human being doing something of a mechanical nature. The subjects must

be new." If a new invention is pictured alone, it is lifeless and

meaningless. But let a human being operate it and a photograph of it

gains in value.



One has only to apply his common sense to the matter. If a murder is

committed in the city, the newspapers will not demand photographs of

the corpse; it will do very well to obtain a photograph of the

"arrow-points-to-the-scene-of-the-crime" variety.



One has to depend wholly on his "nose for news" and this sometimes

proves treacherous. "A human-interest photograph sometimes slips past

the trained nose of a photographer of twenty years' experience and is

picked up by a beginner," to paraphrase Charles Phelps Cushing. And, on

the other hand, the old-timer may snap away confidently at a subject

which the beginner has scorned, and then find he has an unsalable print

on his hands. Sometimes, so to say, "noses for news" contract colds and

are unable to scent a subject's salability. But colds may be cured and

the scents picked up once more. The best remedy is to stop, to think,

and to sniff again.



There is a market somewhere for every good print. There is no market

anywhere for a print that is not good.



The best part of the whole business is this: no one--not even old

Nick himself--can induce an editor to buy a photograph he does not

want; and if, on the other hand, he knows he can use it, he will buy

it at once, be it offered by Donald Thompson, who is a world-famed

press-photographer, or by John Brown of Smithville, whose first

attempt it may be.









V



SIZE, SHAPE AND FORM





Aspiring fictionists learn at some stage of their budding genius that

one long stride toward editorial favor lies in the proper preparation

of the manuscript. Just so, a photograph which is not prepared in

accordance with editorial standards suffers a handicap.



Some editors specify the size of photograph they prefer. Thus,

_Collier's_ prefers 4 x 5 prints; but it will use prints larger, and a

few smaller than that size. In the same way, _Garden Magazine_ reports

that it prefers 6-1/2 x 8-1/2 prints, and the Thompson Art Company says

it prefers the 5 x 7 or 8 x 10 size.



Other magazines make no mention of size. _Popular Mechanics_ reports:

"The size of the print is not so important as clearness and gloss."

Indeed, the greater number of magazines do not specify a preferable

size because by so doing they discourage contributors of prints which

are desirable, but not of the size specified.



If a magazine insists on having prints of one certain size the

photographer should not be discouraged because his camera does not make

photographs of those dimensions. The making of enlargements is now no

more difficult than the making of contact-prints; if the negative is

sharply focused and the lens of the enlarging-machine is good, an

enlargement will not differ much in quality from a small print.



To me, it seems that the ideal camera makes photographs of 3-1/4 x

4-1/4 inches. This is very slightly smaller than 4 x 5, and a less

costly "film-eater." Negatives of that size are sufficiently large to

make salable prints without enlarging them, and if a larger print is

desired, they are of good proportions for the operation of enlarging.

Prints of the 2-1/4 x 3-1/4 size are too small to offer to magazines

unless the subjects are all-commanding; however, the size is a very

good one, and not too small for the making of excellent enlargements if

the lens of the camera is good. I have heard of one photographer who

uses exclusively a vest-pocket camera equipped with a fast anastigmat

lens: he never attempts to market any of the small prints, whose size

is 1-5/8 x 2-1/2, but enlarges the prints to about 4 x 6. There are

many advantages possessed by the small camera over the large camera;

but 3-1/4 x 4-1/4 is the happy medium. I have never had a print of that

size returned because it was too small.



There is no need to limit one's self to the production of prints of

only standard dimensions. In the cases of magazines desiring artistic

prints, the prints gain materially by trimming them so as to produce a

compositional balance of masses. Also, some buyers specify prints of a

certain shape for use as covers and headings, to fit frame-cuts and

such. These buyers state their specifications, as "prints size 4 x 6,

with the long edges horizontal," or the opposite. It is not necessary

to produce prints trimmed to the exact size of the cover, either; all

that is necessary is to make the print of the same _proportions_ as the

cover, and the engraver will enlarge or reduce it to the correct size.



There is one best finish for prints intended for publication: that is,

black-and-white--_never sepia_--and glossy, burnished. Glossy prints

are not much more difficult to make than dull-surfaced prints, the only

necessary additional effort being the use of a squeegee plate, or

ferrotype plate. The preference for glossy prints results from the fact

that their surfaces are absolutely smooth and without grain. This

enables the engraver to make a clearer halftone, for a print with a

grained surface reproduces surface and all in the cut.



Glossy paper, when dried in the ordinary way, has a surface which is

perfectly smooth, yet half-dull. When glossy prints are dried in

contact with a ferrotype plate the surfaces are highly polished, and

this gives the prints more brilliancy. Prints so prepared are ideal for

reproduction-purposes.



Newspapers, as well as some moderate-priced magazines printed on

news-print paper, and printed at high speed, require coarse-screened

cuts; in these, fancy lighting is detrimental, and fine details are

lost; what is wanted are broad masses of light and shade.



Some editors prefer prints which are untrimmed and printed to the very

edges of the negative. Such prints give the editor opportunities to

trim the prints as he pleases. And in the case of simple

news-photographs and ones which have no claim to artistic

consideration, it seems to be the preferable method of submission.

Certainly, editors will not object to such prints, and they may welcome

them in preference to trimmed ones.



Single-weight paper is always preferable to double-weight, even in the

larger sizes.



Prints must be sharply focused and distinct--not "fuzzy."



A contrasty print is sometimes recommended as the best to offer; but

that is a mistake. The photo-engraver wants prints with plenty of

detail in the shadows, and with a tendency to softness; but with not a

vestige of flatness. "In the making of the screen-negative and in the

various steps of etching, he--the engraver--can introduce highlights

into a rather soft subject; but he cannot produce detail in harsh

lights and shadows," declares _Photo-Era Magazine_. The process of

halftone-making has developed so that the reproduction can be made

almost indistinguishable from the original. In any event, make the best

print possible--a normal and truthful representation.



Having produced your print, add your name and address to the back of

it, and then write, in pencil and on a hard surface, the caption that

should be placed under the photograph when it is printed.



Some editors decry the practice of writing the caption on the back of

the print; for the print goes to the engraver and the copy for the

caption goes to the printer. The alternative is to write the caption on

a slip of paper which should be pasted by one end to the back of the

print. In any case the photographer's name and address should be

stamped on the back.



An ideal print for reproduction and publication, then, should be:



Not smaller than 3-1/4 x 4-1/4 inches; on single-weight glossy paper,

burnished; very sharp; not contrasty or flat; correct proportions if

necessary; untrimmed, if preferred; name and address on back; caption

plainly written on back, or on an attached slip.



Prints passing this examination are ready to be shipped to market.









VI



WHERE TO SELL





Once upon a time a publisher had a remarkable inspiration. He would

publish a perfect book. He went about the task with painful care.

Months were consumed in the making of a book which would be perfect

from every viewpoint. After the publisher had corrected every

typographical error, had made every possible improvement, and was

unable to detect even one flaw in it, he made proof-copies of it and

sent them to men on the faculties of universities, to leading printers,

to book-making experts, to authorities in English, and to leaders in

every other branch of work from which it was possible to view

critically the making of the book. He asked them to examine the proofs

minutely and to tell him of any flaw, however small, that they might

find. Each one of the critics returned his proof with the statement

that he had not found the slightest imperfection. Thereupon the beaming

bookmaker published his perfect book and offered a large sum to any one

who could find a single flaw in it. And many months passed.



Then, one day, he received a letter that pointed out an error in the

book. Another letter followed; then another; and at the end of a year,

he had received a half dozen letters, each pointing out a different

mistake--and each was very noticeably a mistake. And that is the story

of the perfect book.



It is with that book in mind that I have decided not to give here the

usual list of buyers of photographs. Such a list may be complete and

correct when compiled; but by the time it could be put into print and

published, lo! some of the magazines would have suspended publication,

other new ones would have sprung up, other buyers would have changed

their requirements; so that after a year, the entire list would be

useless.



I do not add even a list of non-buyers who were once buyers, for the

reason that some of them may become buyers again at any moment.

Consequently, in my opinion, to place a list of photograph-buyers in

this article would be to waste much space, and with the possibility of

inconveniencing any photographers who might attempt to use the list

after a year or so of its publication.



Furthermore, there are magazines and other books issued yearly which

are devoted almost exclusively to listing markets for manuscripts and

photographs; these are in a position to make changes, additions and

withdrawals with each subsequent issue, and so to keep the lists

up-to-date and of value.



One such book is, "Where and How to Sell Manuscripts." This book

classifies photographic markets separately; and also lists elsewhere

many buyers of photographs. In addition, lists are given of newspapers,

postcard-and-calendar-makers, and lists of magazines devoted to the

household, agriculture, gardening, juveniles, sports, outdoors, the

drama, music, art, the trades, etc., all of which magazines use

photographs. The book is published by the Home Correspondence School,

Myrick Building, Springfield, Massachusetts.



Another such book, which is very similar and which contains such lists,

is "1001 Places to Sell Manuscripts," published by James Knapp Reeve,

at Franklin, Ohio. These are the only two market-books which are

enabled to keep their lists up-to-date and correct.



Writer-craft magazines, which maintain literary-market news-columns,

list markets for photographs; these supplement the market-books.



_The Editor_, published weekly at Book Hill, Highland Falls, New York,

publishes perhaps more market-notes than any other.



_The Writer's Digest_, 15-27 West Sixth Street, Cincinnati, Ohio, is a

monthly writer-craft magazine which conducts a very good department of

market-notes.



_The Writer's Monthly_ is the name of another magazine that lists such

markets. It is published monthly. Its market-news, upon publication, is

rather older I have found, than that printed in _The Editor_. The

longer time necessary to print the magazine may account for that. This

magazine is published by the Home Correspondence School, Springfield,

Massachusetts.



_The Student Writer_, 1835 Champa Street, Denver, Colorado, published

monthly, maintains an excellent market-list. Their notes are many,

varied, and reliable.



Photographic magazines sometimes list markets for photographs, although

not frequently.



_American Photography_, 428 Newbury Street, Boston, Massachusetts,

sometimes publishes market-notices in its "The Market-Place"

department, but they are scanty.



_Photo-Era Magazine_ lists, when available, market-notes.

Book-publishers wishing prints of special character have used this

magazine as an advertising-medium.



Besides the magazines noted, other writer-craft and photographic

publications may publish market-notes from time to time.



It is by no means necessary to buy both books and to subscribe for all

the magazines; but if you can do so without financial discomfort, it

cannot be otherwise than to your advantage. By all means, obtain one of

the market-books and subscribe for one of the writer-craft magazines;

and if you can add a photographic publication, so much the better. Even

a market-book alone is a great aid; indeed, it is a necessity. Obtain

one or both and you will be amazed at the number of times each can say,

"Open Sesame" without stuttering.



The best salesman in the world could not induce a sane blacksmith to

put in a stock of groceries. If the salesman has groceries to sell, he

goes to a grocer and talks. Similarly, a photographer cannot hope to

sell the most remarkable photograph in the world, unless he sends it to

the right market.



Each magazine has its own particular needs; but the needs of different

ones overlap so far, and are sometimes so similar, that a print offered

to one and rejected by it may be very desirable to another; this

applies to _classes_ of magazines as well as _individual_ publications.

As an instance: _Popular Mechanics_, or _Illustrated World_, although

requiring unusual photographs, rarely buy photographs of human

freaks--but nevertheless the _Saturday Blade_ (Chicago) uses just that

sort of thing.



A few blocks from here stands the largest writing-tablet factory in

the world: a photograph of it would not be acceptable to the

rotogravure-sections nor to _Popular Mechanics_, _Illustrated World_,

nor to _Popular Science_; yet such a photograph would be useful to

an architectural magazine, a stationers' publication, or a local

newspaper. When a photograph may be viewed from several industrial

angles, as well as from a new-achievement or from a human-interest

standpoint, the more likely are markets to open for it. _The

press-photographer should not stop until he has tried every possible

market._



After one or two rejections, the photographer is apt to form the

opinion that editors are prejudiced against his work because he is a

beginner; but nothing could be further from the fact. One national

magazine says; "Should we return what you submit, do not be

discouraged. Sooner or later, if you study our needs carefully, you

will succeed in finding what we are after." The same thing is true of

every other magazine. There is not one of them but is eager to buy your

wares if you offer them the kind of goods they want.



A rejection is not a rebuke. It is a challenge. It means that your

"nose for news" has failed you--has played you false; or that you have

tried to sell groceries to a blacksmith. Rest assured that no editor

will willfully refuse to accept, pay for and print any photograph which

possesses enough merit to warrant acceptance. The editor holds his

chair only so long as he produces the kind and quality of magazine its

owners want him to produce; and he can do that only by co-operation

with contributors. Without contributors he is at sea in a tub. The

editor is the best friend the press-photographer can have.



It matters not how much "pull" you have with an editor, or how near a

relative you are, or how good a friend, you can't sell a photograph to

him unless you "deliver the goods."



Elliot Walker observes: "The way to sell is to give editors what they

want and in the way they want it." If you do that you can't fail if you

try.



Nor will any editor reject your photographs because of his personal

feelings. "The magazine-editor, in the first place, keeps his personal

feelings tied up; in the second place, he would be foolish, indeed, to

allow them to influence his decisions; and, in the third place, the

editor 'ain't got no' personal feelings when it comes to buying

material for his magazine."



There is only one course to pursue--send the photograph to every

possible market for it in its special line; then see if it can be

viewed from another magazine-angle, and try every magazine of that

trend; then repeat and repeat and ship it away again and again. _Don't

stop until it has been returned from every market with the slightest

possibility of buying it._ Then sit up nights to discover another

shipping-point for it. Keep on to the bitter end; but if your "nose" is

working and you keep on steadily, the end will come rather suddenly,

and it will not be bitter.









VII



A SURVEY OF MARKETS





What follows is no attempt to list and classify existing markets, but

to offer a generalized survey of magazine needs by class. While the

success of the small-town press-photographer is not in proportion to

his city's size, the magazines which find their ways to him month after

month do not disclose the whole field of markets to him. He needs

something more--something to reveal to him the broad needs of

magazines. This chapter has as its mission the summarizing of the needs

of magazines of every class.



Thus, photographs taken all over the world, showing the beauty and

commerce of the old and new eras, are eagerly sought by several

magazines. _Travel_, 7 West Sixteenth Street, New York, wants

photographs of out-of-the-way places, unusual methods of producing

world necessities, and photographs of general travel interest.



The same may be said of the _National Geographic Magazine_, though the

photographs and articles used by this publication are so specialized

and exhaustive that it is rarely a free-lance writer can supply their

needs--for they maintain their own staff of writers and explorers.

However, if you are able to catch vivid photographs of wide travel

interest, here is a most excellent market.



If you are interested in picturing homes, _Country Life_, _Garden

Magazine_ and _House Beautiful_ are waiting for your prints. These

magazines are very artistic and use only the best work; but they are

interested in unusual gardens, beautiful lawns, landscaping, interior

decorating. A house remodelled from a common building to an unusual or

striking residence will find ready sale to them if photographs of the

"before and after" variety are offered. Nature, sport, and building in

the country are the specialty of _Country Life_, Garden City, New York;

_Garden Magazine_ is interested in nothing but gardens and ornamental

horticulture, preferably of the personal experience trend. Same address

as _Country Life_. _House Beautiful_, 3 Park Street, Boston, wants

photographs of unusual types of interior decorating and landscape

architecture. What a wealth of material a well-kept, modern home

contains! Owners should readily give consent to photograph if the

photographer explains his purpose.



_Arts and Decoration_, 470 Fourth Avenue, New York, also uses garden

and house material, but runs also to the arts. Photographs of

architecture, interior decorating, etc., here find another market.



So it is with the broad field of country-life magazines generally, as

an example. House furnishing and "before and after" remodelling

pictures are easily obtained and easily sold if well done.



Every class of magazines uses photographs: Literary magazines, Women's,

Farm journals, Juvenile, Religious, Outdoor, Photographic, Theatrical,

Musical, Art, and Trade publications. The following notes generalize

the needs of each of these fields.





GENERAL MAGAZINES



This excludes most fiction magazines; those which do use photographic

illustrations buy the work of professional studios already established

and perhaps specializing in that type of illustrating. The beginner may

develop into one of these illustrators--many magazines use them, as

_Love Stories_, _Cosmopolitan_ for special articles, _National

Pictorial Monthly_, etc.,--but these markets are not open to the

free-lance photographer.



_Current History_, Times Building, New York, New York, is an example of

a news-magazine which uses timely photographs of wide interest.



_The Literary Digest_ is of similar nature, but this second magazine

does not buy photographs from the open market.



The Curtis Publishing Company occasionally uses photographs of a scenic

or artistic nature as fillers. These magazines comprise _The Saturday

Evening Post_, _The Ladies' Home Journal_, _The Country Gentleman_.

These are always available, and a glance through several numbers of

each will disclose the type of photograph wanted.



_Grit_, Williamsport, Pennsylvania, uses many photographs, and short

articles written around them. This publication wants common,

human-interest subjects treated carefully.



The needs of _The Illustrated World_, _Popular Mechanics_ and _Popular

Science_ have been made very clear in previous portions of this book.



_The Scientific American_ always wants photographs of new inventions of

wide interest, accompanied by brief articles. Address 233 Broadway, New

York, New York.



_Physical Culture_, 119 West 40th Street, New York, New York, always

wants photographs of persons having splendid physical development. A

glance through this magazine will disclose the types of poses desired.

Straight front, back, etc., views are never used; action in the picture

is essential.





WOMEN'S MAGAZINES



These magazines use generally pictures of home improvements, remodelling

of residences, flower gardens of unusual variety, and use short

illustrated articles on house-building, interior decoration, rugs,

gardens, domestic science, etc. The magazines listed below are only a

few of the many which use photographs and illustrated articles of

interest to women.



_The Ladies' Home Journal_, Philadelphia, Pa.; the _Woman's Home

Companion_, New York; the _Delineator_, New York, and _Good

Housekeeping_, New York, are all generally fiction magazines with a

homey flavor which do not offer a good market for separate photographs

or short illustrated articles, although they are in the market for

suitable material of this sort, in a limited way. Others are:



_American Cookery_, 221 Columbia Ave., Boston.



_Better Times_, 70 Fifth Ave., New York.



_Canadian Home Journal_, 71 Richmond St., West, Toronto, Ontario,

Canada.



_Farm and Home_, Springfield, Mass.



_Mother's Magazine_, 180 No. Wabash Ave., Chicago.



_New England Homestead_, Springfield, Mass.



_Vogue_, 19 West 44th St., New York, uses exclusive photographs of

society in New York, Newport, etc.; photographs of handsome homes of

well-known society people, beautiful and unusual gardens, etc.



_Woman's Weekly_, 431 So. Dearborn St., Chicago, uses short articles of

home interest, illustrated.





FARM JOURNALS



The needs of farm journals are specific. They form an important

division of published magazines, and a large one which uses a great

amount of material. Articles on farm improvements, etc., are always

used, and photographs also. A conjunction of the two, in an illustrated

article, forms a much more marketable commodity. The farm work is

composed of many divisions--agriculture, bee culture, botany, breeding,

cheese-making, etc. The following are a representative few of the

agricultural markets which are always buying material:



_American Agriculturist_, 315 Fourth Ave., New York.



_American Bee Journal_, Hamilton, Ill.



_American Botanist_, Joliet, Ill.



_American Breeder_, 225 West 12th St., Kansas City, Mo.



_American Farming_, 537 So. Dearborn St., Chicago.



_American Forestry_, 1410 H St., Washington, D.C.



_American Fruit Grower_, State Lake Bldg., Chicago.



_American Poultry Journal_, 542 So. Dearborn St., Chicago.



_American Seedsman_, Chicago, Ill.



_Bean-Bag_, Syndicate Trust Bldg., St. Louis, Mo., is devoted to the

bean industry.



_Canadian Countryman_, 154 Simcoe St., Toronto, Ontario, Canada;

material of Canadian interest.



_Country Gentleman_, Independence Square, Philadelphia.



_Dairy Farmer_, Waterloo, Iowa.



_Farm and Fireside_, 381 Fourth Ave., New York.



_Farm Journal_, Philadelphia, Pa.



_The Horse World_, 1028-30 Marine Bldg., Buffalo, New York.



_Jewish Farmer_, 174 Second Ave., New York.



_Kennel Advocate_, 636 Market St., Sierra Madre, Cal.



_The Milk Magazine_, Waterloo, Iowa.



_National Alfalfa Journal_, Otis Building, Chicago.



_Orchard and Farm_, 1111 So. Broadway, Los Angeles, Cal.



_Potato Magazine_, Room 605, 139 No. Clark St., Chicago.



_Power Farming_, St. Joseph, Mich.



_Rabbitcraft and Small Stock Journal_, Lamoni, Iowa.



_Southern Agriculturist_, Nashville, Tenn.



_Wallace's Farmer_, Des Moines, Iowa.





JUVENILE PUBLICATIONS



Almost every magazine uses juvenile material, and there are many that

specialize in it. The following markets use the well-known type of

photograph and illustrated article which are of interest--travel,

how-to-make-it, etc. A great field is open here to picturized

activities of boys.



_The American Boy_, 142 Lafayette Blvd., Detroit, Mich.



_Boy's Magazine_, Scarsdale, N.Y.



_Classmate_, 420 Plum St., Cincinnati, Ohio.



_Forward_, Witherspoon Bldg., Philadelphia.



_Girl's World_, 1701 Chestnut St., Philadelphia.



_Junior Christian Endeavor World_, 31 Mt. Vernon St., Boston, Mass.



_Kind Words_, Nashville, Tenn.



_Open Road_, 248 Boylston St., Boston.



_St. Nicholas Magazine_, 353 Fourth Ave., New York.



_Youth's Companion_, 881 Commonwealth Ave., Boston, Mass.





RELIGIOUS PAPERS



Religious publications are not given to printing many photographs,

although there is a market of appreciable size here. This field is a

difficult one to generalize upon, but the following may be taken as

such a list:



_Adult Student_, Nashville, Tenn.



_American Messenger_, 101 Park Avenue, New York, New York.



_Christian Advocate_, 810 Broadway, Nashville, Tenn.



_Christian Endeavor World_, 31 Mt. Vernon St., Boston, Mass., uses

photographic covers.



David C. Cook Company, Elgin, Illinois, publishes about forty

magazines, which use a great amount of photographs and illustrated

material.



_Epworth Herald_, 740 Rush St., Chicago.



_Front Rank_, 2710 Pine St., St. Louis, Mo.



_Lookout_, Cincinnati, Ohio, uses photographs for covers.



_The Missionary_, Apostolic Mission House, Brookland, Washington, D.C.



_Sunday School World_, 1816 Chestnut St., Philadelphia.



_The Watchword_, Otterbein Press, Dayton, Ohio.





OUTDOOR MAGAZINES



Here is a group of magazines which is deeply interested in unusual

fishing-trips, hunts, and such excursions--it wants material on the

animals in water or air or on land, that its readers may bag them the

more easily; it desires material on bird-dogs, on outdoor devices and

tricks, on tennis, motoring, baseball, cats, dogs, golf, horses,

yachting, and on every phase of outdoor and sport life. Photographs of

men prominent in each line are wanted; prints of hunting, fishing,

camping, canoeing, sailing, and everything connected with the big

outdoors. Here is a large and remunerative market for open-air

photographs and sport prints.



_Aerial Age_, 280 Madison Ave., New York, wants material on aviation.



_All Outdoors_, _Outing_, _Forest and Stream_, _Field and Stream_,

etc., want the wide variety of outdoor material that appeals to any

sort of sportsman. These magazines circulate widely, and a study of

them will disclose their needs.



Dogs are the subjects of such magazines as _American Beagle_, 639 West

Federal St., Youngstown, Ohio; _Dogdom_, Battle Creek, Michigan; _Dog

Fancier_, Battle Creek, Michigan; _Dog World_, 1333 So. California

Ave., Chicago.



Material about cats is welcomed by such as _Cat Review_, 196 Centre

St., Orange, New Jersey.



Fishing material appeals to the general run of outdoor magazines,

including _American Angler_, 1400 Broadway, New York.



Tennis appeals to _American Lawn Tennis_, 120 Broadway, New York, and

the _Tennis Review_, California Bldg., Los Angeles, Cal.



Golf material is used by _American Golfer_, 49 Liberty St., New York,

and _Golfer's Magazine_, 1355 Monadnock Block, Chicago.



Motoring appeals to a long list of such publications as:



_American Motorist_, Riggs Building, Washington, D.C.



_Mileage_, 4415 No. Racine Ave., Chicago.



_Motor_, 119 West 40th St., New York.



_Motordom_, 110 State St., Chicago.



_Motor Life_, 239 West 39th St., New York.



_Speed_, 809 Shipley St., Wilmington, Del.



Then there are a variety of different subdivisions of this class, the

mere names of which are sufficient to disclose the great variety of

material they use:



_American Checkers_, 1846 So. 40th Ave., Chicago.



_American Chess Bulletin_, 150 Nassau St., New York.



_American Cricketer_, Morris Building, Philadelphia.



_Baseball Magazine_, 70 Fifth Ave., New York.



_Billiards Magazine_, 35 So. Dearborn St., Chicago.



_Bird Lore_, 29 West 32d St., New York.



_Bowler's Journal_, 836 Exchange Ave., Chicago.



_The Horse World_, 1028-30 Marine Bank Bldg., Buffalo, New York.



_Spur_, 389 Fifth Ave., New York--raising prize winners.



_Yachting_, 141 West 36th St., New York.





PHOTOGRAPHIC MAGAZINES



These magazines pay more attention to the photograph itself than to

what it pictures. Here is a market for artistic prints, for prints

showing new working methods, and such material interesting to

photographers. Artistic taste and technical accuracy are instrumental

in getting you into these magazines.



_American Photography_, 428 Newbury Street, Boston.



_The Camera_, 210 No. 13th St., Philadelphia, Pa.



_Camera Craft_, Claus Spreckels Bldg., San Francisco, Cal.



_Photo-Era Magazine_, Wolfeboro, New Hampshire.





THEATRICAL MAGAZINES



Theatrical magazines embrace the following representative few who

desire prints of current news in the show world, new theatres,

interviews with actors and actresses and photographs of them, etc.



_The Drama_, 306 Riggs Bldg., Washington, D.C.



_Theatre Arts Magazine_, 7 East 42d St., Detroit, Mich.



_Theatre Magazine_, 6 East 39th St., New York.





MUSICAL JOURNALS



Photographs of bands, orchestras, leaders, band-stands that are unique,

artists, composers, etc., are used by this class.



_Musical Courier_, 437 Fifth Ave., New York, New York.



_Musical Enterprise_, Camden, N.J.





TRADE PAPERS



These include magazines published and devoted to every trade

imaginable. One magazine will be cited for each division of trade, the

title of which is self-explanatory, and which uses photographs in its

particular field:



Advertising: _Advertising and Selling_, 471 Fifth Avenue, New York.



Architectural: _American Builder_, 1827 Prairie Ave., Chicago.



Automobile: _American Garage and Auto Dealer_, 116 So. Michigan Ave.,

Chicago.



Baking and Confectionery: _Baker's Helper_, 327 So. La Salle St.,

Chicago. _Western Confectioner_, Underwood Bldg., San Francisco.



Cement, etc.: _Concrete_, 314 New Telegraph Bldg., Detroit, Mich.



Drug, Oil, Paint, etc.: _Druggists' Circular_, 100 William St., New

York. _Painters' Magazine_, same address.



Dry Goods: _Dry Goods Reporter_, 215 So. Market St., Chicago, Ill.



Electric: _Journal of Electricity_, Crossley Bldg., San Francisco.



Engineering: _Everyday Engineering Magazine_, 2 West 45th St., New

York.



Financial: _Financial World_, 29 Broadway, New York.



Fraternal: See particular paper referring to particular fraternity or

lodge in list given in Market Book.



Furniture: _Furniture News_, Wainwright Bldg., St. Louis, Mo.



Grain: _Grain Dealers' Journal_, 315 S. La Salle St., Chicago.



Grocery: _National Grocer_, 208 So. La Salle St., Chicago.



Hardware: _Good Hardware_, 211 So. Dithridge St., Pittsburgh.



History: _Hispanic American Historical Review_, 1422 Irving St., N.E.,

Washington, D.C.



House Organs: Some two thousand of these are listed in the market books

named.



Jewelry: _Jewelers' Circular_, 11 John St., New York.



Labor: See particular division desired by consulting Market Book.



Law: _Casualty Review_, 222 East Ohio St., Indianapolis, Ind.



Lumber: _Lumber_, Wright Bldg., St. Louis, Mo.



Medical: See division desired, as Dental, Hospital, etc., in Market

Book.



Military: _American Legion Weekly_, 627 West 43d St., New York.



Municipal: _American City_, 87 Nassau St., New York.



Printing: _The Inland Printer_, Inland Printing Co., 632 Sherman St.,

Chicago.



Railroad: _The Railroad Red Book_, 2019 Stout St., Denver, Colo.



Shoes: _Boot and Shoe Recorder_, 207 South St., Boston.





This survey gives a general idea of the wide market open to photographs

which fall within each magazine's requirements. No attempt has been

made to give the needs of magazines, or to present what is usually

called "a list of markets." We have been concerned here with

generalizing the market--pointing out to the reader who never sees most

of the magazines named that they really exist and buy photographs. The

purchase of a Market Book is necessary if one desires seriously to make

his way selling photographs to publications.



"Study the magazine" is the bromide flung always in the teeth of the

beginner. But what if one can't obtain copies of the magazines which

print material which the reader may easily find? Then he has only to

request from the editor a sample copy of the magazine, using the

address gleaned from the Market Book--and he then has the best

information as to what that particular magazine wants. And at a cost of

only two cents per copy.









VIII



SHIPPING THE PRODUCT TO MARKET





When a print is to be offered to a local newspaper, the photographer

starts out, sometimes, as soon as one hour after making the exposure,

with the print in his hand, and, arriving at the desk of the

city-editor, he allows him to examine it. In such a case, mailing the

print would delay it; perhaps delay it until its interest has cooled,

and so make it worthless. But when submitting prints to magazines one

should always invoke the aid of Uncle Sam's mail-service, no matter if

the editor lives just next door and the publication-office is but a

block distant.



The shipping of your prints to their markets merits special

consideration. If the photograph, after being wrapped, can be bent

easily, it is apt to arrive at the editor's desk in a cracked and

crumpled condition. Then the editor could not buy it if he wished. And,

when it is returned, its maker finds it to be so mutilated that it is

useless to try to market it elsewhere. Proper protection of photographs

when shipping them is an aid to both editor and contributor.



Photographs which are 4 x 5 inches in size can be sent safely in a No.

11 envelope of heavy manila paper if a sheet of cardboard is placed in

the envelope too. The cardboard prevents the breaking of corners, the

bending, and the cracking of the print. For a return-envelope--_never

omit to enclose an envelope addressed to yourself and adequately

stamped for the return of the print if it is unavailable_--for a

return envelope, a No. 10 manila envelope is the best.



Prints which are 4 x 5 inches or larger should be sent in larger

envelopes--in clasp-envelopes. These envelopes can be obtained at

stationers' in sizes suitable for almost any photograph. The envelope

should be about an inch larger each way than the print. The print, as

well as a piece of cardboard--which should be somewhat larger than the

print--can be sent safely in the clasp-envelope container. _On no

occasion forget to enclose a return-envelope, which should be

self-addressed and stamped._ The return-envelope may be of the same

size as the outer one; and, if it is folded, it may be easily inserted.

The envelopes mentioned, I have found by experience, are the best

containers that can be used for photographs that are to be mailed.



Never roll a print and insert it in a mailing-tube. If there is

anything an editor does _not_ want you to do, it is that. Prints so

sent never lose the violent curve they acquire in transit, and then

they are no more amenable to reason than a temperamental mule. Prints

should always be sent _flat_--never rolled or folded, nor in any other

condition except perfectly _flat_.



The envelope should be addressed to "The Editor" of the particular

magazine selected. Do not address it to the editor by name, for it

might arrive at a time when he is on his vacation, and so it will

follow him all over the country and perhaps become lost. There should

be no enclosure other than the photograph; except, when it is

necessary, a sheet carrying an explanation or a short article to be

printed with the picture. Do not write a letter to the editor unless

the photograph is timely and should have an immediate decision. The

professional news-photographer submits his work without letters, and

with no identification except his name on the back of each print--and

it isn't what's on the back, but what's on the front, that counts.



Photographs properly require only third-class postage rates. The

addition of a caption to the print, or any other written matter

included with it, automatically raises the rate to first-class. Even if

nothing but the photograph alone is sent, I advise the use of

first-class service for several reasons: the print is then carried more

quickly; it is handled more carefully; and the sender may seal the

container, which he is unable to do with third-class matter. Always,

then, send your photographs by first-class mail.



Editors do not maintain special funds for the purpose of paying for

postage-due stamps. That is, if a package of photographs arrives at the

editor's desk with the postage not fully prepaid, the payment by the

editor of the postage due does not make his attitude kindly toward the

work itself. There are a good many editors who will not accept

contributions from the postoffice which have postage-due stamps

attached because of the neglect of the sender to fully prepay the

postage. There are a great many more editors who will not return

photographs unless a stamped and self-addressed envelope is enclosed

with the offering. The attitude is entirely justified, for the

supplying of postage to careless contributors in such cases would cost

a magazine hundreds of dollars every year.



Never send your photographs by registered mail unless their value is

extraordinary; and never send them by special-delivery mail unless the

prints are addressed to a newspaper and possess burning-hot news

interest. To send photographs of average quality by either registered

or special-delivery mail is a trick of the novice struggling for

recognition. Use ordinary first-class service and the editor will feel

more kindly toward you than if he is made to stop his work and sign a

mail-receipt.



Not all photographs are accepted by the very first editor who sees

them. Very often it is the fifth, or the tenth, or even the twentieth

editor who buys them. So if a print comes back, immediately send it out

again and again and again. _Don't stop, for the very next time you

might sell it._ If it's a good print, there is an editor somewhere

waiting for it.









IX



THE PRICES PAID





The most remarkable news-photographs ever made--they were exposed at

the South Pole--brought $3,000 from _Leslie's_ (now no longer

published) for "First Rights," and $1,000 more from International

Feature Service for "Second Rights." Some photographers have realized

hundreds of dollars from lucky shots; an extraordinary photograph may

bring from $25 to $100; but the average price paid is $3.00; and,

indeed, there are some editors who unblushingly offer as little as ten

or twenty-five cents for prints; and some who find it impossible,

unwise, or unnecessary to pay for prints at all.



Although the average price paid is not astounding, it is a good return

on the cost of making; also, the abundant opportunities for salable

prints compensate for what each cheque lacks. A photographer who is

wide-awake and moving ought not to find it difficult to sell at least

ten prints each week, if not more, when one considers the large number

of available subjects and the multitude of magazines.



Newspapers pay for prints according to their breadth of circulation. A

widely-read daily will pay more for photographs than one of small

circulation. Very often, newspaper-editors prefer that the

press-photographer send a bill for his services. If you are asked to do

that, do not hesitate to charge a price you think is entirely just; but

don't grasp the opportunity to profiteer. Better, discover the price

asked by the newspaper's favorite commercial-photographer, and mark

down your price accordingly. That is business; it isn't taking an

unfair advantage.



Whatever the price that is paid, don't object if you think it is too

low; accept the payment and seek a more remunerative market next time.

This applies to magazines as well as to newspapers.



The prices paid by magazines vary likewise, but none of any reputation

pays less than one dollar per print. There are many factors which

decide the size of the cheque which the press-photographer receives.

The first is the circulation of the publication, for its financial

reserve depends on the number of buyers. The size of the print in some

instances decides the price paid. Thus, one magazine pays $1.00 for

prints of one size and $2.00 for larger ones. However, there are not

many magazines who pay according to the size of print.



Sometimes, retouching must be applied to a print in order to make it

suitable for reproduction; and, as the service of a retoucher is

expensive, something is deducted from the photographer's cheque to pay

for the work. _Popular Science_ is a magazine of that policy. The

photographer can avoid such deductions from his cheques by supplying

photographs of such quality that they will need no retouching.



If a photograph is offered for the exclusive use of one magazine it may

bring a higher price than if it were non-exclusive. Thus, _Collier's_

pays $3.00 for non-exclusive prints and $5.00 for exclusive ones. Some

few magazines rarely accept any print that is not exclusive; indeed,

non-exclusiveness may be a reason for rejection. Calendar-makers and

postcard-makers, of course, buy only exclusive rights. A publisher is

always more favorably inclined toward an exclusive than toward a

non-exclusive print; and, very often, the added favor means added

dollars to the payment.



The use to which a print is put is also a deciding factor in payment. A

print bought for use as a cover-illustration will bring home a bigger

cheque than if it were used merely as one of many illustrations. Too,

_Illustrated World_ pays $3.00 and more for prints used in its

pictorial section, but $2.00 for those used in its mechanical

department. Other magazines do not make this distinction.



After all, the price paid depends wholly on the usefulness and quality

of the print. If, sometimes, as in the case of the _Ladies' Home

Journal_, the payment is made with a view to the photographer's

reputation, it is only because news-photographers of experience produce

prints of a higher average quality than beginners do. But, if a

beginner "delivers the goods," the editor is just as glad to pay to him

the large cheque as he is to pay it to any one else.



A few examples of prices paid will be of interest. _Collier's_ pays

$3.00 for non-exclusive prints and $5.00 for exclusive prints, and from

$25.00 to $100.00 a page for layouts (spreads). _Illustrated World_

pays $3.00 for each print. _Popular Mechanics_ pays $3.00 and up, and

$25.00 a page for layouts. _Popular Science_ reimburses at the rate of

$3.00 for each photograph, and sometimes more. The _Saturday Blade_

pays $2.00 for each. The Thompson Art Company pays from $1.00 to $5.00.

Underwood and Underwood pay from $3.00 and up, according to the value

of the print. The Woodman and Teirman Printing Company pays at rates

varying from $5.00 to $50.00.



"But when is payment made?" you ask. The answer is, "Either upon

acceptance or upon publication."



By far, most magazines pay according to the more desirable plan--upon

acceptance. As soon as such a magazine decides that a photograph is

useful to it, it mails a cheque to the sender. Sometimes, a receipt is

sent with the cheque, which the recipient must sign and return; but,

more often, the cheque itself is the receipt. Payment upon acceptance

is by far the more desirable method, for with it the worker is paid as

soon as his work is done; there is no waiting for weeks and months for

payment, as in the case of pay-on-publication magazines.



There are a few magazines who wait until the photograph actually

appears in the pages of the publication before payment is made. In such

cases, the photographer has no recourse but to wait until the editor is

ready to print his contribution whenever it may be.



In the case of pay-on-publication magazines, notice is usually sent

that the photograph has been accepted for publication and that it will

be paid for as soon as it is published. Sometimes, no notice is given

at all of publication or acceptance; and in that case the photographer

must scan each issue of the magazine in order to find his contribution

when it appears, or he must wait until the cheque arrives that denotes

publication. Either method is uncertain; but there is nothing to do

but to endure it. Some publications even wait for some time after

publication before making payment, as in the case of the _Kansas City

Star_, which pays on the fifteenth of the month following publication,

and the _Saturday Blade_ which also mails all cheques the month

following publication. This is a discouraging policy; but as the cheque

always arrives in the end, there is little to be said in condemnation

of it; the photographer is obliged to make the best of it.



The contributor should always keep a record of prints accepted and to

be paid for on publication. Otherwise, by an oversight, a cheque for

published material may never come, and the photographer may never miss

it. Too, a cheque may arrive unexpectedly from a forgotten source and

cause an attack of heart-failure.



The beginner does not achieve mountain-top prices except by a lucky

shot now and then. Prices increase with your experience and your

reputation.



The photographer who develops his "nose for news" until it can scent a

salable photograph in every conceivable situation is the photographer

who has the large cheques forced upon him.



The sky-high cheques come to the camerist who, night and day, through

sunshine and storm, earthquake and cyclone, is always "hot on the

trail" of the salable photograph that is tucked away somewhere, where

only a keen scent and a large amount of perseverance can lead him; and

when he arrives, the subject will be singing truthfully, "Shoot me and

the wor-rld is tha-hine." There are enough of these subjects to shame

the biggest choir on earth by their "singing." However, the

photographer must know good music when he hears it.









X



ART PHOTOGRAPHS





An art-photograph may be either of two things: a photograph, itself

artistic; or a photograph of some artistic thing. There are markets for

both. Artistic photographs are used by calendar and postcard makers;

also, by photographic magazines, and magazines given to the beautiful

in art or literature. When submitting such photographs to makers of

postcards and such, they should be submitted in the usual manner.



The subjects used by card- and calendar-makers are interesting

landscapes, beautiful seascapes, pretty girls, attractive children, and

animals, as every one knows. Such pictures are sometimes bought

outright--indeed, they usually are; but some firms pay according to

their value as indicated by the demand for them after publication.

Thus, one firm pays on a fifty-fifty basis.



An example of beautiful photography, at the same time picturing an

unusual or artistic subject, will usually find a market in a

photographic magazine, as _Photo-Era Magazine_ or a magazine such as

_Shadowland_. The _Architectural Record_ demands that its prints,

although of architectural subjects, be artistic and beautiful. Indeed,

there is such a wide market for photographically artistic prints of

beautiful subjects that the photographer is doubly rewarded who can

supply these, as well as hot-off-the-bat news-photographs.



Artistic photographs are printed on sensitive-paper of a surface suited

to their subjects, and are trimmed so as to carry the correct

compositional balance; and after, they are tastefully mounted.



Photographs which are not themselves artistic, but which are of

art-subjects, may be prepared as are other photographs intended for

publication. Such photographs are of statues, pictures, new

art-museums, art-collections, paintings, mural decorations, drawings,

and anything at all of interest to artists. Material of such sort is

sought by such publications as _American Art News_, _Art in America_,

_Art and Decoration_, and others that appreciate the very best.



In short, the photographer may market his game among a wider patronage

if he can bring down birds of paradise as well as ducks and geese and

the common denizens of the air.









XI



COMPETITIONS





Competition is the life of business. Certainly, then, an aspirant for

honors from publishers experiences no lack of life. Often, however,

after a print has proved unavailable for publication, when offered by

the regular process, it may be entered in a photographic competition

where current interest is not essential; and so, perhaps, even bring

home a larger cheque than it could have captured otherwise.



The two leading photographic publications, _Photo-Era Magazine_ and

_American Photography_, conduct monthly competitions. The monthly

prizes for the Advanced Competition of _Photo-Era Magazine_ are $10.00,

$5.00 and $2.50 in value of photographic goods. Although cash is not

paid, a prize awarded will go a long way toward obtaining for the

photographer a desired piece of apparatus, or in supplying sensitised

material, developing-agents and such with which to produce photographs

intended for other magazines. "The contest is free and open to

photographers of ability and good standing--amateur or professional."

The publisher of _Photo-Era Magazine_ assigns subjects for each month,

as "Winter-Sports," "Speed-Pictures," and so on. Since the photographer

must buy supplies in any event, the awarding of such to the amount of

$10.00 is a distinct help.



_American Photography_ also conducts monthly photographic contests. For

these no subjects are assigned. The prizes for the Senior Class are

$10.00, $5.00 and $3.00, paid in cash. "Any photographer, amateur or

professional, may compete." This magazine last year held an Annual

Competition, which it intends to repeat, with prizes of $100.00,

$50.00, two of $25.00, and ten of $10.00, not to mention one hundred

subscriptions for the magazine. Highly artistic work is necessary for

recognition in the Annual Competition. Both _Photo-Era Magazine_ and

_American Photography_ supply data-blanks which must be sent with

entries.



Competitions for amateur photographs are also conducted by the

_American Boy_, which offers monthly prizes of $5.00, $3.00 and $1.00

for "the most interesting amateur photographs received during each

month." These are worthwhile.



Photographs of popular interest are used in monthly competitions by

many magazines; and many manufacturers conduct occasional, if not

regular, prize-contests.



Probably the largest company to offer prizes in competitions is the

Eastman Kodak Company. The Eastman company for many years conducted a

yearly contest with thousands of dollars in prizes offered. Last year,

it decided on an innovation; the running of a monthly contest with

prizes of $500.00. This practice has been continued for many months and

shows no signs of being discontinued at this writing. Prizes are

offered for four classes of photographs, the class being determined by

the camera with which the photograph was made. In all, twenty prizes

are awarded each month, the highest being $100.00 and the lowest $7.00.

Frequently one person wins two or three prizes. The photographs entered

must be of good workmanship, of human-interest and must preferably tell

a story. No subjects are set. Upon writing to the company, a leaflet is

sent which gives rules and an entry-blank. A good many photographers

have cleaned-up in these competitions.



Now and then, different manufacturers and magazines, who do not

ordinarily do so, offer prizes for photographs. At every opportunity,

the press-photographer should enter his prints, for if they win a

prize, he has the advantage of a larger remuneration as well as a

boosted prestige among editors and publishers.









XII



PRINTS FOR ADVERTISING





Advertisers who are manufacturers are all possessed of the belief that

the buying public is painfully ill-informed of the unequalled merits of

their products. Consequently, any photographic evidence of the

superiority of their goods which will enlighten the public is welcomed

with open arms.



Any photograph that shows plainly the excellent service that any

product has given will bring the photographer's own price from the

manufacturer. The demand is almost universal.



Makers of camera-lenses are continually on the lookout for unusual

photographs made with their products. The Wollensak, the Bausch and

Lomb, and the Goerz companies frequently buy negatives that portray

vividly some features of their lenses.



Makers of camera-shutters also buy photographs which were made with

cameras equipped with their shutters. Usually, the point emphasised in

the pictures bought is the shutters' ability to "stop motion" at their

high speeds. As press-photographers frequently find it necessary to use

the shortest exposures given by their shutters, they should have

something in their negative-files which the shutter-makers should be

eager to obtain.



Makers of photographic material other than lenses and shutters often

buy examples of work done with their goods. Thus, the Ansco Company

"uses photographs of natural scenes for advertising-purposes," the

photographs being made on _Ansco_ film and _Cyko_ paper, or other Ansco

products. Burke and James, makers of _Rexo_ cameras, "use photographs

for advertising-purposes which must be of unusual interest and must

illustrate their goods in use, or be made with their cameras or films."

Inasmuch as the news-photographer, in his daily work, finds many

unusual things, he should find no difficulty in selling a few prints to

camera-makers.



An advertiser is always seeking any information likely to help sell his

product. If, in your work, you see an old storage-battery with electric

energy still unimpaired, or a well-preserved tire, or a shaving-brush

of "strong constitution" unweakened by much use, it would very likely

prove profitable to photograph it and describe your find to the company

that makes the product.



Thus, an insurance-agency may buy a photograph of a garage destroyed by

fire, the cars in which were fully protected by their insurance. A

maker of strong-boxes may appreciate a photograph of one of his boxes

raked out of, perhaps, the same fire, the box having held valuable

papers which were fully protected from the terrific heat. The makers of

a portable typewriter once purchased a photograph of one of their

machines which had fallen from an airplane and which had to be dug from

the ground; but which, of course, suffered no injury whatever because

of its fall and burial. If you should unexpectedly come upon Irvin Cobb

writing a masterpiece with his Neverleek fountain-pen, snap him (with

his permission) and see what the makers of Neverleeks say.

Manufacturers of patent roofings use photographs of roofs covered with

their products; makers of steam-rollers want photographs of roads

tamped by their machines; and so on and on and on.



It is wiser to write first to the advertising-manager of the particular

company favored, and to inquire if he is buying photographs that show

plainly the unparalleled merits of his excellent product, and if

so--etc., etc.



Some advertisers will ask you to name a price for your work, and on

such an occasion you should judge fairly the value of the print to

them. If they require the negative also, raise the rate. Any prints

should be worth $10.00 even to a small manufacturer, and if it is

acceptable at all, a larger firm should pay from $25.00 to $1,000.00

for suitable propaganda. This branch of press-photography is little

used by many workers, yet it is remunerative.



Besides furnishing the manufacturer with advertising for his product,

the photographer supplies himself with some advertising to the effect

that "he delivered the goods once, and could do it again, so there."









XIII



COPYRIGHTS AND OTHER RIGHTS





If, as often happens, one photograph is useful to more than one

publication, is it all right to sell the one photograph to as many

magazines as will buy it?



When a publication prints a photograph on its pages, it copyrights it

in the name of the publishing company. The photographer then has parted

with his _entire rights_ to it, and cannot sell it elsewhere, _unless_

one of two precautions has been taken.



The first precaution is the writing on the back of each print: "First

Magazine-Rights Only." Those "mystic" words mean that the print is

offered for publication only one time, after which it again becomes the

property of the photographer. That is, the magazine, when buying such a

print, buys only the right to print it the first time. Immediately

after its publication, it becomes again the property of the

photographer, although he cannot of course sell "First Rights" again,

any more than he can sell the same horse twice at the same time.



After "First Rights" has been sold, the photographer may then sell

"Second Rights," _provided_ those words are written on the back of the

second print. "'Second Rights' is the right to publish a photograph in

some other publication than the one in which it originally appeared."

For instance: a photograph of a novel shop-window display may be

acceptable to _Popular Mechanics_, which buys a print _marked_ "First

Magazine-Rights Only." But the same photograph may be acceptable too to

an advertising-magazine, and so it buys "Second Magazine-Rights."

Unless these terms are written on the backs of prints which are sold to

more than one magazine, trouble is apt to result.



Another plan by which it is possible to sell a photograph to more than

one publication is the labeling _each print_ as: "Non-Exclusive" or

"Not Exclusive." When that is done, the photograph may be sold to as

many editors as care to buy it.



If no mention of any rights or of exclusiveness is made at the time of

sale, it is inferred that the publisher buys "All Rights." In that case

the photographer loses _all_ claims to the photograph; if he attempts

to sell it again without the consent of the editor who first bought it

he is breaking the copyright laws; in fact, he is selling another's

property.



There is no need to affix any such terms to any photograph which can

sell to only one, or which is to be offered to only one magazine.

Magazines are more partial to prints which they can buy outright, and

thus acquire "All Rights." Indeed, there are very few prints of enough

value to sell to more than one magazine.



Now we plunge deep into the mysteries of copyrights. When a print is

copyrighted it is unalterably the property of the person _first_

copyrighting it until he signs "Transference of Copyright." A

copyrighted print may be published in a dozen publications if they will

buy it, and it still remains the property of the one who first

copyrighted it. Copyright laws were passed for the benefit of those who

"promote the progress of science and useful arts." This is done "by

securing for limited times to authors and inventors the exclusive right

to use their respective writings and discoveries." Under this law,

"author" includes makers of photographs, and "writings" includes

photographs.



The process of copyrighting a photograph is not an involved one. A

request should be addressed to the Register of Copyrights at

Washington, D.C., for a few copyright-blanks, form J1. (Form J1 is for

photographs to be sold, J2 for photographs not to be sold.) One of

these cards is then filled out, and two prints of the photographs sent

with it to the Copyright Office, as well as the necessary fee. "The fee

for the registration of copyrights ... in the case of photographs, when

no certificate (of copyright) is demanded is fifty cents; for every

certificate, fifty cents" additional. A certificate is not usually

necessary, and is useful only in cases of disputed copyright ownership,

etc. The fee should be sent only in the form of a money-order to the

Register of Copyrights, and the photographs must bear the mark of

copyright, which is "either the word 'Copyrighted' or the abbreviation

'Copr.' accompanied by the name of the copyright proprietor. In the

case of photographs the notice may consist of the letter C inclosed in

a circle _provided_ that on some accessible portion of such copies ...

the name of the person copyrighting shall appear." Upon the Copyright

Office receiving the photographs, the sender is notified; and again,

when copyright is granted, he is sent a small card notifying him, or

the certificate is sent to him if he has ordered one. Then the print is

considered copyrighted.



It is useless to copyright any except those prints of extraordinary

value, the rights of which the photographer wishes to retain at all

costs. The average quality prints are not likely to be stolen, and so

the copyrighting of them is unnecessary. If the photograph is merely to

be offered to two or more publications it is only necessary to mark

each print as directed in the foregoing paragraphs.



Publishing companies are business-institutions which are of necessity

conducted according to the highest ethics. To unwittingly sell to

another magazine a print one magazine purchased as exclusive, would be

likely to exile the photographer's work from those particular

magazines. The photographer should remember that a print of his making

is not his property once it is first copyrighted by someone else,

_unless_ he has sold only certain rights of it. It is nothing less than

theft, to make a photographic copy of a published photograph and to

offer it as original and unpublished. The photographer should never try

to sell what is not his own work. But since not many have the urge to

do so, undue emphasis on that point would be offensive.



"The sum of the foregoing advice is that the author (photographer)

should exercise common sense in disposing of rights," says J. Berg

Esenwein, editor of the _Writer's Monthly_, in one of his books. "In

most cases it would be better to allow the publisher to have 'All

Rights' than to forego the chance of a sale; but nearly all

magazine-editors are disposed to be reasonable and will agree to share

any future profits that may arise from supplementary sales of a

manuscript (photograph). The chief point is that author and publisher

should clearly understand each other, without the author's losing his

rights, yet, without harassing the publisher by making unnecessary

stipulations regarding a trifling matter."



The law of copyright should be followed strictly when attempting to

submit the same photograph to more than one publication or buyer. If

the photographer keeps an eye on what rights he has sold when he cashes

his cheque, and governs himself accordingly, he will sail along without

trouble of any kind.









XIV



ILLUSTRATED SPECIAL ARTICLES





It would require a surveyor of extraordinary skill to mark the boundary

between the lands of _Photographs-With-Explanatory-Data_ and

_Articles-Illustrated-With-Photographs_. Since the dividing line is so

vague it is not difficult to pass from the one to the other.



The jump from the making of photographs to the writing of non-fiction

is not a difficult one to make. In his rambles after salable

photographs the press-photographer may unearth a subject to which a

single photograph does not do justice. Then the making of more

photographs and the writing of an article about them is the logical and

the progressive and the more remunerative thing to do.



Indeed, subjects which would not sell otherwise may be made very useful

to an editor by the writing of an enticing article around them. At

once, there is a means of broadening one's market and of disposing of

photographs, by themselves, unsalable. An illustrated article naturally

calls forth a fatter cheque than would the text or the photographs

alone. There is as much a demand for illustrated articles as there is

for photographs; so that the photographer with the ability to tell

facts simply and clearly has two avenues of revenue.



Many illustrated articles sold to magazines are just groups of

photographs with interesting texts written about them. A search through

a few magazines reveals a broad variety.



From _Popular Mechanics_:



    New Mountain-Road Now Open to Traffic.

    New Orleans Public Elevator.

    Artistic Roof-Garden Features City-Factory.

    Steamer Repaired in Eighteen Days.

    Where the Earth Collapsed.

    Flying Anglers Troll for Deep-Sea Fish.

    A Four-Track Concrete Railroad-Bridge.

    Waterfalls Near Big City Just Discovered.

    Concrete Smokestack Difficult to Demolish.

    Vast Stores of Mineral Paint-Pigments in Salton Sea.



From _Illustrated World_:



    What the Circus Does in Winter.

    Snow on the Overland Trail.

    City over Coal-Mines Slowly Sinking.

    Running the Farm by Windmill.

    Truck Equipped for Sealer of Weights and Measures.

    Marvelous Development in the Hemp-Industry.

    Public Camp-Conveniences.

    Mud-Splashing Guards for Autos.

    Work for Waterfalls Everywhere.

    Building the Road to Fit the Car.

    Heading Off Mountain-Floods.

    Lawn-Pools and Fountains in Concrete.



From _Photo-Era Magazine_:



    Children in the Snow.

    The Quartz-Meniscus Lens.

    Introduction of Figures in Landscape-Work.

    Photographic Greeting Cards.

    Balance by Shadows in Pictorial Composition.

    Mounting and Framing Photographs.

    The Photographer and a Goat-Ranch.

    In Nature's Studio.



From _Science and Invention_:



    Science Measures the Athlete.

    World's Largest Clock.

    Making Microphotographs.

    How Cartoon Movies are Made.

    A Miniature "Sky."

    Curing Soldiers' Ills with Electricity.

    Largest Electric Crane Lifts Complete Tug-Boat.

    Wintertime Uses for the Electric Fan.

    Monster Italian Searchlight.



These are articles written around several photographs--not merely

illustrated by them. Besides the classes of magazines mentioned there

are numerous others--almost any publication that uses illustrations in

fact--which are in the market for illustrated articles. Such magazines

cater to outers, hunters, sportsmen, business-men, physical culturists,

travelers--almost every class of reader.



Having produced and sold articles written around the illustrations, the

writer-photographer cannot other than form an idea, now and then, of an

article a magazine should want which may be illustrated; but to which

the illustrations are supplementary rather than basic. In such cases,

the writer will have greater chance of acceptance if he, by means of

his camera, makes several photographs to illustrate the text.



Even if an article is acceptable without illustrations, it will bring a

bigger cheque nevertheless if it is illustrated. If the lack of

illustrations makes the article unavailable, then the photographer has

the means of making a cheque grow where none grew before. His camera

stands him in good stead. There is no editor but prefers an illustrated

article to an unillustrated one--unless his magazine is pictureless

from policy.



Then, from having his pictures printed without his name attached, the

photographer blossoms into a writer whose work appears under such a

head as "_'How Fruit is Raised on the Moon_,' by John Henry Jones,

with Illustrations by the Author."



Although the jump from the making of photographs to the writing of

non-fiction is easy, you may slip at the first attempt. But hammer away

and soon the nail will go in. "For know ye, there isn't a

magazine-editor in the business who wouldn't buy an article from his

worst enemy if he thought it was good stuff for his magazine."



The photographer must not only "smell out" news; but he must, by the

sensitiveness of his "nose" tell just how much the news is capable of

being worked up. He will find it comparatively easy to write

illustrated special-articles where before he sold just photographs. And

such ability stands not far below that of the fictionists.









XV



THE HIGH ROAD





Not much of an exalted vocation, the selling of photographs? Not,

perhaps, proclaimed from the housetops as a handsomely paying vocation;

but one which may be cultivated into almost anything having to do with

inveigling publishers into writing cheques.



When you receive your first cheque your sensation is something like

that of the man who has passed through a cyclone and has come through

with his "flivver" still in the barn. But when the first contribution

is _printed_! The world is yours! You have broken into print! If not

into type, at least into printing-ink.



When the excitement wears off there are many branches that beckon. The

press-photographer may specialise--he may devote all his efforts to

some one branch of the work, as the making of photographs of

celebrities, of microphotographs, of almost anything. Witness the

amateur photographer who quietly went about photographing the interior

of every church in New York, and who then "cashed in" on them to the

amount of $4,000. You may even obtain a position--or job--as

press-photographer on a big metropolitan daily, with all the world

before you and part of it dropping every Saturday afternoon into your

pocketbook.



Then, you may be sent overseas--and be paid great oodles of money. Or

you may devote all your time to the making of calendar-photographs, or

to illustrating stories photographically, as is the fashion now with

some magazines, see _True-Story_. There are so many opportunities

to grasp that if you look about you and select the specialised branch

in which you desire most to work, there is no reason in the world why

you should not do it--and, perhaps, earn $10,000 a year at it. "Do one

thing better than anyone else and the world will beat a path to your

door."



Having broken into printers'-ink, it is comparatively easy to break

into type. From selling photographs one may easily advance to the

writing and illustrating of non-fiction. And your fame as a

non-fictionist, together with the training you have gleaned, may cause

you to forward a work of fiction to an editor acquainted with your

name--and lo! from the ranks of the "snap-shooters" you have risen to

the highest class of scribe--the successful fictionist.



And that, too, is not difficult for him who wills and works. "And work.

Spell it in capital letters, WORK," advised Jack London. "Work all the

time. Find out about this earth, this universe; this force and matter,

and the spirit that glimmers up through force and matter from the

maggot to Godhead. And by all this I mean work for a philosophy of

life. It does not hurt how wrong your philosophy of life may be, so

long as you have one and have it well.... With it you may cleave to

greatness and sit among the giants."



Another agrees: "Draw long breaths of confidence, of faith in yourself

and your work.... Strike 'despair' out of your dictionary! Get into

your chair! Do your stint! Be just as much of a fool as you like. It is

your privilege and mine. Then you will have amusing reminiscences. No

great writer but can look back and say, 'What a fool I was!'"



Realisation results from "ten per cent. inspiration and ninety per

cent. perspiration." A liberal quantity of this mixture will bring one

to the High Road. The High Road is smooth. But anyone may travel it who

wishes--and works sufficiently hard. Not much, the making and selling

of photographs? The start of the trail may be barren and unpromising;

but the persevering fellow who follows it persistently will find that

it suddenly widens and blossoms and lo, opens full into the High Road.





THE END













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