Photos by Sarah Jacobs

When it comes to pitching new clients, there seems to be an invisible barrier between photographer and buyer: the photographer is left guessing what might appeal to the client, and the client is left frustrated by the photographer who misses the mark.

So let’s get back to the basics. We talked to both buyers and photographer reps to get their take on an across-the-board checklist for creating a print portfolio.  Here’s what they had to say:

1. Focus on one story or specialty

There are very few photographers who have successfully mastered every specialty (or even more than a handful of them). One telltale sign of an amateur photographer is one who tries to appeal to everyone, and hasn’t honed his or her talent. You should do a few things, and do them well. That might be weddings, engagement shoots, and portraits; food and lifestyle; sports and action photography; and the list goes on.

Your specialty should be obvious when a prospective client views your portfolio. A specific job will come up, and the client will go through his/her Rolodex (virtual or actual) for the right photographer. If that job falls within your specialty, you want to be that photographer.

Art buyer Bonnie Brown suggests that photographers limit their portfolio to feature 1-3 specialties. “Get feedback as to what others in the field feel your strong area is,” she says.

If your work features more storytelling, then the same suggestion applies – go for one strong story rather than images from several different projects. Most clients who would consider hiring someone like you will appreciate seeing a single series because their assignments tend to be story-based (whether it’s a magazine, ad campaign, brochure, etc.).

2. Choose quality over quantity

The number of images clients prefer to see in your portfolio varies from 15 to 50, but one thing is clear: err on the side of quality. It’s the content, not the number, that counts.

“The optimum number of pictures will vary with each photographer’s portfolio,” says Wonderful Machine‘s CEO Bill Cramer. “A more accomplished photographer can certainly push the number of pages more than less accomplished photographers can. But if I had to put a number on it, I’d say 50 photos is enough to show the depth and breadth of your skill without wearing people out.”

3. Remember the allure of print

It’s easy to get caught up in the glamour of a tablet’s shiny screen. But it turns out that the proliferation of iPads and other tablets is your #1 reason for sticking with print. Nothing outdoes the feeling of flipping through printed photos, and they tend to make much more of an impact – especially if your prospective client would likely publish your work in print.

Adds Bill Cramer, “Beyond the pictures themselves, a print portfolio gives photographers a chance to choose materials and construction that show another aspect of their creativity.”

Photo consultant Jasmine DeFoore loves small and simple photo books for the portfolio. “I am now convinced that the iPad is just not the best way to show still photography,” she says. ”I think if you have a lot of video/multimedia, it makes sense, but otherwise it’s less than ideal.”  Check out her full webinar discussing this very topic: getting organized and building a better portfolio.

4. Get traditional about size

The consensus for print portfolios is generally 11″ x 14″. Any smaller, and your images will be difficult to see; any bigger and it might make for expensive shipping (if you can’t meet in person). That being said, follow your creative instinct and do what reflects who you are as a person and photographer. Traditional is safe, but out-of-the-box thinking can help you score with clients who are on the same page as you creatively.

5. Reflect your brand

We’re constantly touting the importance of having your brand touch every part of your business. Be sure not to forget your print portfolio, which should include your logo, colors, and be designed in a way that fits your brand. If you shoot big rock concerts, you might attach guitar strings on the cover; similarly, a fine art photographer might include mock-ups of how the prints look framed to help clients visualize the final product.

Photo rep Frank Meo of thephotocloser.com, who’s spoken at APA events on topics like Creative Estimating, says, “If you don’t succeed in ‘creative separation’ (i.e. standing out from the crowd), it is a failed portfolio.”

6. Appeal to your target client

If you know which prospective clients will be viewing your portfolio (or even who you would like to be looking at it), make sure your work fits their style. Simply put, don’t go showing off a portfolio filled with lifestyle imagery on the beach if your client only features photos of capped mountains. Pay attention to the type of work your client usually goes for, and keep that in the back of your mind when editing your portfolio.

Commercial photographer Alexa Miller realized the importance of matching her portfolio to her clients’ needs after meeting with and being turned down by several New York-based buyers. She went home, built up a portfolio of Western U.S. landscapes while living in Montana, and then took that book back to New York . Suddenly, clients seeking that type of imagery were ready to hire.

7. Be patient

Don’t commit to creating a print portfolio if you don’t have the resources – that includes time, money, and imagery. “It sounds so simple, but a classic mistake photographers make is to approach us before they’ve had enough experience,” says National Geographic Senior Photo Editor Elizabeth Krist. “Then their work is just not at the level that would give us the confidence to begin a relationship with them.”

Take the time to develop your photographic style and confidence. And don’t rush the editing and creative process. Most importantly, you should be proud of your portfolio. That pride will show clients you’re ready to do business.

1. Be prepared when a client calls.

When you get a call from a magazine about a potential assignment, you have to be prepared to respond appropriately. You’ll normally hear from the art director (at a smaller magazine) or a photo editor (at a larger magazine).

They will often be working on a fairly tight deadline, so you’ll need to be pretty decisive. They’ll briefly describe the project and they’ll want to know whether you’re interested and available. If the answer is yes to both, you’ll need to know more details.

2. Ask questions.

When you speak to a potential client on the phone, you won’t want to jump into a conversation about money right off the bat. Listen carefully as they describe the project, and be prepared to ask as many questions as necessary in order to visualize what you have to do to execute the job and to work up a quote.

If you’re an established photographer and you get the feeling that it might be a low-budget job, you won’t want to spend a lot of time talking creative before finding out what their budget is. But otherwise, we suggest asking all the other questions first. As a matter of style, it’s important to show that you’re interested in doing the assignment. Asking the right questions will demonstrate your enthusiasm for the project, and it will also give the client the confidence that you know what you’re doing.

You’ll need to understand the assignment from a creative standpoint, from a production standpoint and from a licensing standpoint. Some questions you’ll need to ask the client, others you’ll just need to ask yourself.

3. Understand the client’s creative needs and expectations.

What’s the subject of the assignment? What’s the story about? What genre of photography are they looking for: portraiture, fashion, still life, architecture, reportage, travel? Do they have a draft you can read? (The text can often inspire picture ideas, but if you do get a copy of the story, do not show it to the subject.) Are there pictures in your portfolio or on the web that are similar to what they’re looking for? What do they envision for the shoot?

Sometimes a photo editor is going to have a specific concept or style in mind that they’ll want you to adapt to. Other times, they’re going to want you to come up with the concept and do it in your own style. It’s important to have a clear understanding of their expectations and what’s appropriate for that publication.

For all 6 tips, check out our guide, Pricing Your Work: Magazine Photography. This free guide outlines what photographers should expect when pricing for magazine assignments. 

Jasmine DeFoore has over 20 years experience in the photo industry as an editorial photo editor, project manager, marketing director, artist representative, and freelance art producer. She uses this mix of experiences to help commercial photographers get the kinds of jobs they are looking for.

In this video, Jasmine breaks down the sometimes daunting task of getting organized and building a better portfolio into four main steps:

1. Define your target audience.
2. Put together a cohesive edit.
3. Build a better portfolio.
4. Create your marketing checklist.

Her tips and strategies will help photographers understand the importance of defining their niche and finding their strengths; use photo editing and book making software to review their work and put together an edit; create a narrative and use color, pattern, and shapes to build an inspiring portfolio; and update prospective and existing clients with enticing emails and newsletters.

Note: Please excuse some of the erroneous clicking going on during the presentation! We were experiencing some recording difficulties, but fortunately all the content came through. 

Click here to view the embedded video.

You can find Jasmine at jasminedefoore.com and on Facebook and Twitter.

It may sound flashy and stressful, but it doesn’t have to be – nor do you have to subscribe to that mindset. Plenty of commercial photographers maintain a laid-back attitude, while still running a successful business. We talked to one of our favorite commercial photographers, Alexa Miller, whose focus on relaxed yet vibrant lifestyle photography has made her a success — and a stand out in the helter skelter world of commercial photography.

Alexa’s clients include big names like Polaroid, Columbia Sportswear, Ski Utah, Men’s Health, Cosmpolitan, Outside magazine, and more. She’s been able to conserve her knack for capturing real moments and authentic emotions, which is likely why these clients keep returning to her for repeat business.

Alexa has one of those too-good-to-be-true stories: she’s been shooting since high school, but initially pursued a career in medicine before traveling the world and starting to build her portfolio. After taking additional time to compete in ski competitions and attend the Art Center College of Design in California, Alexa moved to Montana and cut her teeth working for local clients.

She quietly started visiting New York City to pitch to bigger clients, and after a few failed trips she finally got her first gigs – which sent her right back out west to shoot in Montana, Wyoming, Utah, and California – the land she knows best. So we wanted to know, What’s the secret to breaking into such a high-profile industry and still maintaining a sense of authenticity? Here are her six takeaways:

1. You don’t have to start out living in New York City or L.A.

This is definitely the notion among commercial photographers looking to “make it”. Because of that, everyone goes to those cities and then the markets become over-saturated. On top of that, many companies no longer have the budget to send photographers on location. That means they’re seeking out commercial photographers in their destination of choice. Take a hint from Alexa, who built up a portfolio of Western U.S. landscapes while living in Montana for years. Then she took that book to New York and clients seeking that type of imagery were suddenly ready to hire.

Photo by Alexa Miller

Photo by Alexa Miller

Photo by Alexa Miller

2. Make your dream client list – and make sure it vibes with your style.

Alexa suggests that commercial photographers make a list of dream clients they’d love to work with, and put their energy in working toward that goal. You might not get the cream of the crop in the end, but the exercise will force you to think about where you might be a good fit and who would value your skills. “Tenacity, perseverance  and forcing myself to make those calls and emails, on a schedule, no matter what” is what keeps Alexa moving froward.

Photo by Alexa Miller

Photo by Alexa Miller

“The inherent challenges of commercial photography is that it’s ruled by a lot of fear,” says Alexa. “The budgets are big, jobs are on the line and that can bring in an element of fear. It can be hard to balance your own vision with pleasing your client. It’s also very competitive, so just getting your foot in the door, and finding that first client is really hard.”

3. Get used to cold calling & asking for in-person meetings.

No one likes cold calling. But for better or worse, it can be an effective marketing tactic. That’s how Alexa got her first gigs: “I’ll sometimes call 10-20 times before the client picks up the phone. It’s nerve-wracking! But you have to catch them live. Then I do a quick intro, and just ask if they are interested in meeting with a new photographer.”

At her first big meeting with Fitness Magazine, Alexa really paid attention to the office and saw that they had big, beautiful blow-ups of their covers. When it came time to flip through her book, she realized that only one or two of her shots reflected those cover images. “I got all fired up after that and realized that I need to make my whole book look like what was represented in the magazine.” The next time she met with Fitness six months later, with a new book, they hired her for a shoot happening that week. It might be the stuff of dreams, but the takeaway is the same: make sure your book is appropriate for the client you want.

4. Start using story or moodboards to set expectations before the shoot.

Storyboards give you and your client a direction. It also gives you a sense of security on the shoot, without making the process too rigid or contrived. And perhaps most important, it helps ensure that you and the client are on the same page. “Make sure that you understand the client’s needs and visions, beyond just your own,” advises Alexa. Once Alexa feels that she’s fulfilled the client’s needs, she let’s the shoot “run wild,” which is sometimes when she gets her most authentic looking shots – the ones that bring viewers right into her space, and also the ones her clients love.

Alexa creates moodboards for herself and her clients, often using Pinterest. This one helped inspire her shoot for Zanerobe, a premium denim and streetwear company.

5. Don’t be afraid to outsource some of your business.

Sometimes you just can’t do it all – at least not everything at full force. Outsourcing parts of your business, whether that’s marketing or editing or accounting, can be a smart decision for busy commercial photographers. Or simply because it’s smarter to let the experts handle it. Alexa uses Agency Access to help build new lists of clients to reach out to, and also design her email promos. This helps her stay on track and focus on the other aspects of her business.

Alexa is currently using Agency Access to design her email promos, which are very simple. “It’s the equivalent of a digital postcard,” says Alexa.

6. Make a commitment to developing a brand that reflects who you are.

We can’t say it enough – creating a unique brand that speaks to your style and personality is key to a successful photography business. For commercial photographers, Alexa suggests doing some soul-searching. It might sound cheesy, but figuring out the truth of who you are as a person and photographer will help you communicate that to clients.

Photos by Alexa Miller

Photo by Alexa Miller

Photo by Alexa Miller

“The days of anonymous photography are really over,” says Alexa. “As photographers, we are pointing the lens and interpreting the world. We can be as honest or constructed as we want to be. I choose to go with radical honesty, because I find it easier to just by myself rather than trying to create something. That makes my work go ever deeper.”

Bottom line: your brand needs to reinforce whatever work you’re doing. And if that brand is authentic, it will make your life a whole lot easier and your business a whole lot more successful.

Click here to view the embedded video.

To get more insight into the world of event photography, we spoke with Jeremy Norman, Creative Director at Congruent Creative Workshop (CCW), an event design and production firm based in New York City. Jeremy has been working in New York for eight years and has helped assemble a range of events from social to corporate galas to non-profit events. CCW’s very long and varied client list includes the New York City Ballet, JP Morgan Chase, The Whitney Museum of Art, and Virgin Records.

“We like to create stories and narratives in events,” says Jeremy. “Whether it be a social or corporate branded event. Even the entrance to the party should evoke a mood, a personality, or a branded message that the client is trying to convey.” And that most certainly applies to the photographers Jeremy hires to cover his events.

Because CCW has a focus on a narrative thread – which needs to apply to every aspect of production – it’s important for photographers to understand and work with the firm’s practices. Jeremy shared his five event photography tips on how photographers can promote their work to him and the general needs he sees in today’s event photography market.

1. Different firms have different aesthetic specialties.

If you’re a photographer trying to partner with an event planning company, consider whether your style and approach will mesh. “At CCW, we want photographers to capture candid, or certainly natural photographs that convey a mood. Long gone are the days when you have people line up in front of the church, or those other really orchestrated shots. I don’t know of anybody who does that anymore. People seem much more attracted to natural, in the moment, narrative.”

Portland, Oregon photographer Craig Mitchelldyer captures a candid moment at his client's wedding.

2. Learn to work with a firm and take direction.

“We’re very big on creating moments in the events – different opportunities for exciting photographs. Because if you’re going to spend one, two, three hundred thousand on an event you definitely want to have memories that are well shot and well photographed. That’s why we often make suggestions to our photographers before the event. We don’t spend hours and hours, but we certainly do offer our advice and want to find photographers who are amenable to collaboration.”

3. To promote your work, create well-curated online galleries.

“If you have a nice online portfolio, with high quality, creative and well-curated photographs then we would be much more inclined to bring you onto a project,” he says. Not only does this get you the job, but it could help the firm bring in new clients, too, which means more business for everyone. “Good photographs are a huge selling point. A lot of clients can’t envision the event, even if you use very descriptive language. When we have photographs, they can evoke a mood and can convince a potential client to come on board with us.”

Freelance photographer Michael Seto caught this beautiful moment at New York City's Summer Stage concert series.

4. Build and work off of your people skills.

Jeremy knows that if a photographer isn’t working well with a crowd, he’ll hear about it from clients. Word of mouth is still a huge source of promotion. “I find that most of the time you get business in this industry it’s because people attend an event, like it, and ask who did it. It’s very much a referral-based industry.”

5. Establish partners outside the industry.

When it comes to marketing tactics, Jeremy suggests partnering with local vendors who also specialize in mood catering or branded events. For example, if an event requires costumed wait staff or a performance requires actors with theatrical makeup, then a photographer who works with local costume designers and makeup artists will be an easy sell for the planner building a crew in the area. Jeremy says, “partnering with makeup artists seems highly effective because makeup, and the way photographs look, go hand in hand.”

These 5 event photography tips are just a few of the insights included in our free guide, Growing Your Event Photography Business. You’ll also hear from FOOD & WINE‘s Marketing Art Director, who hires event photographers for the magazine’s gatherings throughout the year, five successful event photographers, and get concrete tips like “8 Ways To Make A Crowd Love You.”

Check out what we found on how mastering storytelling is key to repeat clients, why pursuing a niche can lead to a thriving business, and more in Growing Your Event Photography Business.

Building your event photography business has a lot to do with knowing the right people, staying visible to buyers, and having an excellent, updated online portfolio. But don’t just take our word for it – in our latest guide, Growing Your Event Photography Business, we talked to several leading event photographers whose work includes weddings, sports, nonprofit, corporate events, and more.

“80-percent of my new clients come through referrals from other clients,” says Michael Seto, who specializes in event, corporate, and documentary photography. “If you do good work and provide exceptional client service, then your clients help to market you – everyone in this business talks to one another about vendors and photographers they like to work with.”

Photo by Michael Seto

Jeremy Norman, Creative Director at New York-based event planning company Congruent Creative Workshop, agrees and says, “I find that most of the time photographers get business in this industry it’s because people attend an event, like it, and ask who did it. It’s very much a referral-based industry.”

Photojournalist, event and documentary photographer Angela Jimenez adds, “You have to be really proficient at the ‘grip and grin’ photos, the podium photos, and the things you’re supposed to get for PR purposes. But when you show up, look for the other things that will flush it out, make it more human – photos of people interacting and the things that are a little off to the side.”

Photo by Angela Jimenez

These are just a few of the insights included in our free guide, Growing Your Event Photography Business. You’ll also hear from FOOD & WINE‘s Marketing Art Director, who hires event photographers for the magazine’s gatherings throughout the year, five successful event photographers, and get concrete tips like “8 Ways To Make A Crowd Love You.”

Check out what we found on how mastering storytelling is key to repeat clients, why pursuing a niche can lead to a thriving business, and more in Growing Your Event Photography Business.

Yes, photography contests, on the whole, are generally worthless – they are a time and money suck, and the organizers are looking to make money or disguise them as a rights grab.

No, they provide value, in that it forces photographers to curate their best work and ultimately push themselves to compete with “the best”. Plus, reading that so-and-so won this-and-that photo contest is kind of like being named Best Smile in the yearbook – many of us tend to pay attention to those awards, even if we’re not sure why.

But before the opining begins, keep in mind that every contest is geared toward a different level of photographer (student vs. amateur vs. pro), genre of photography (documentary, commercial, fine art, etc.), and different buyers are checking out different contests (magazine editors vs. ad agencies, for example).

Below we rate several major photo contests, with a brief overview of each contests’ entry fees, prizes, promised exposure, and feedback from past winners. Our verdict is given on an A-F scale, with “A” being worthwhile and “F” being worthless. Let the grading begin:

Photography Masters Cup

Entry fees: $35 for professionals; $30 for amateur (determined by whether your income is made as a photographer).

Prizes: “Masters Cup Award” title.

Promised exposure: Published in The PHOTO Paper Magazine; showcased in the online Winners Gallery; “international press and exposure.”

What the winners say: Daisy Gilardini, winner in the Nature category for the 5th annual awards, says: “Entering a photo contest is a time consuming task. I enter only a few of the most prestigious photo contest worldwide a year. The benefits are not immediate: I don’t enter a contest for the prizes – I consider this engagement as part of my marketing business plan. It’s a great way to have your name out there and build up a reputation.”

Photo by Daisy Gilardini

When asked if he would recommend other photographers to enter, Sucheta Das (winner in the Sports category) says: “Yes, definitely. I would ask all professional and young photographers to come forward and enter and show your talent to the world.”

Photo by Sucheta Das

Verdict: D You pay $30-some dollars, and get back zero. Beyond getting to put “Masters Cup Award” in your bio and having your work seen by maybe a few prominent judges, it doesn’t appear that the exposure foots the bill. Not many are talking about this contest (at least online), most buyers haven’t heard of it, and while the copyright remains with the photographer, the organization and “third-party newspapers and magazines” can use your image for “promotional purposes.”

International Photography Awards (IPA)

Entry fees: $35 for professionals’ singe image; $25 for non-professionals; $15 for students.

Prizes: Cash prize of $10,000 for the International Photographer of the Year Award; $5,000 for Discovery of the Year Award; $5,000 for Deeper Perspective Photographer of the Year Award; $2,500 for New! Moving Image Photographer of the Year Award.

Promised exposure: Winners attend the Lucie Awards in NYC – of those, 45 images are selected for a exhibition leading up to the awards show; published in Annual International Photography Awards Book; press release and newsletter sent to 50,000+ IPA members.

What the winners say: Finalists across IPA’s eight main categories in 2011 had mixed reviews. Marsel van Oosten, Nature Pro winner, says: “I consider it to be the Oscars of photography”. Conversely, Editorial Pro winner Jacopo Quaranta says that he didn’t see any direct benefit in the form of new assignments as a result of winning, but “the exposure given by the contest is huge, which is really good because your pictures are seen by a larger number of people and more people may discover you.”

Photo by Marsel van Oosten

Quaranta also adds that the benefits of entering depend on your genre of photography. “I think IPA is more oriented toward fine art photography,” he says. “If you see the names of people who won every year, there are not many photojournalists.”

Photo by Jacopo Quaranta

That being said, Fine Art Pro winner Chad Holder warns: “We need to be careful not to enter the lame contests that are solely out to make money. Stick to respectable ones, the ones your clients will notice and care about.”

Photo by Chad Holder

Verdict: B. $10,000 is pretty sweet bait for entering the IPA, and winners’ images have been previously published on websites like BuzzFeed and EYEMAZING. Plus, the exhibition and press release provide a chance to get a good number of eyeballs on your work. But as one past winner notes, be sure that your genre of photography fits the competition.

Smithsonian Photo Contest

Entry fees: n/a

Prizes: Grand prize of $5,000; 5 category winners receive $500; Readers’ Choice winner receives $500.

Promised exposure: Published on Smithsonian website.

What the winners say: Radim Schreiber, who won first prize in the Nature category in the 8th annual contest, says that he considers the win was a milestone in his photography career. “It motivates me to pursue photography further,” he says.

Paul Durhman, a finalist in this year’s Travel category, says: “I have received the benefit of more exposure for my work as well as a definite boost in confidence! Not only are you viewing others’ work – you’re putting your work up against it, which in turn helps you improve.”

Photo by Paula Durhman

Verdict: D. There’s not a lot stopping you from entering Smithsonian’s photo contest with a $0 entry fee, and the grand prize is a nice chunk of cash, but beware of the usage rights you’re handing over: “By entering the contest, entrants grant the Smithsonian Institution a royalty-free, worldwide, perpetual, non-exclusive license to display, distribute, reproduce and create derivative works of the entries…The Smithsonian Institution will not be required to pay any additional consideration or seek any additional approval in connection with such uses.” Also, most entries are pretty amateur.

National Geographic Photo Contest

Entry fees: $15 per entry.

Prizes: Grand Prize winner receives $7,500 cash prize and a 3-day trip to Washington D.C. for the National Geographic Photography Seminar; category winners receive $2,500.

Promised exposure: Printed in the magazine.

What the winners say: Izabelle Nordfjell won the People category in 2011 and says, “I got a lot of attention in the Swedish media and even some internationally. It resulted in a boost for my brand as a young, up-and-coming photojournalist.”

2011 Grand Prize winner Shikhei Goh simply says: “I surely recommend others to enter the contest.”

Photo by Shikhei Goh

Verdict: B. It’s many nature photographers’ dream to be published in National Geographic, and the online gallery gets roughly 600,000 pageviews per month. Not to mention that publications like The Boston Globe, The Huffington Post, ABC News and more publish the winners (all online). Know why? “By entering the Contest, all entrants grant an irrevocable, perpetual, worldwide non-exclusive license to Authorized Parties, to reproduce, distribute, display and create derivative works of the entries.” If this sort of “free” exposure doesn’t bother you, then the contest might be for you.

PDN Photo Annual 

Entry fees: $45 for a single entry; $55 per series; special student rate of $25 per entry.

Prizes: There are six different awards given at the PDN Photo Annual:

• The Arnold Newman Prize for New Directions in Photographic Portraiture
• Adobe’s Breakthrough Photography Award of $1,000 cash prize and Adobe® Creative Suite® 5.5 Master Collection
• The Marty Forscher Fellowship Fund cash award to one professional and one student winner
• The Sony Emerging Photographer Award who receives a Sony camera and a $1,000 cash prize
• Ten winners receive a Nielsen Photo Group membership
• PDN Editor’s Choice Award receivse a full-page self promotion ad in an upcoming issue of PDN

Promised exposure: Winning images published in PDN’s Photo Annual issue (sent to 5,000+ creatives) and pdnonline.com‘s gallery archive; “work seen by top photo industry judges.”

What the winners say: Jason Larkin won The Arnold Newman Prize and received a four-month solo exhibition as a result. “Winning the award was a great boost on keeping me focused on my own projects in between shooting my assignment work,” he says. “PDN is a very respectable organization and the annual is a very competitive arena to get your work show in. Though the submission is a lot of money and I think it’s a personal decision on entering or not.”

Photo by Jason Larkin

Verdict: B+. PDN Photo Annual is very well respected in the photography community, and many photo buyers have told us that this is one of the photo contests that they actually pay attention to. The judges who you will likely see your work (editors in the past have been from Newsweek, Sports Illustrator, The New York Times, for example) might be worth the hefty $45-55 entry fee – though the prizes could be a bit more generous for the submission cost.

World Press Photo

Entry fees: n/a

Prizes: Photo of the Year Award receives €10,000 and a sponsored trip to the Awards Ceremony in Amsterdam; 2nd and 3rd prize winners, and honorable mentions, receive an award and diploma.

Promised exposure: All prize-winning photos are assembled into an exhibition that travels to 45 countries and published in a yearbook distributed worldwide.

What the winners say: World Press Photo of the Year 2011 winner Samuel Aranda says: “Receiving the award really helped me to find new clients and ways to do my next projects. Also that the issues in Yemen got exposure as a result of the award.”

Donald Weber, who won first prize in the Portraits category, says: “I am a believer in the awards system, but I also think it can get overdone…there are an awful lot of paid awards these days, which I don’t necessarily denigrate, but I think you have to be wise and careful and prudent about what you enter and why. Is this an important milestone in your career, is this an important step for the life of the work?”

“What a WPP does is offer recognition from your peers,” Donald adds. “I think we as photographers are an insecure species as a whole, an award lightens our egos and tells us we’re on our way somewhere.”

Photo by Donald Weber

Verdict: A. We just can’t deny the credibility of World Press Photo – they boast over two million visitors to the hundreds of venues where winners’ images travel in their winning year, and you just might get published on the front page of The New York Times (like 2011 winner Samuel Aranda). Like other contests, WPP is geared toward a specific type of photographer – so don’t expect to enter your hummingbird photo and win the grand prize.

Pictures of the Year International (POYi)

Entry fees: $50 per entry.

Prizes: Photographer of the Year receives $1,000 cash prize, Nikon camera bodies, and a Tiffany crystal trophy; 2nd place receives $500; 3rd place receives $250.

Promised exposure: Display in Washington D.C.’s Newseum for six months.

What the winners say: None of the winners we contacted replied with comments.

Verdict: B-. POYi is well respected in the photojournalism community, and winners are usually recognized on TIME’s Lightbox blog, The New York Times‘ Lens blog, and others. Unless you’re looking for a broader audience for your documentary project, this probably isn’t the contest for you.

Nikon Small World Photomicrography Competition

Entry fees: n/a

Prizes: Monetary prizes can be used toward the purchase of Nikon Equipment:

• 1st Prize $3,000
• 2nd Prize $2,000
• 3rd Prize$1,000
• 4th Prize $800
• 5th Prize $600
• 6th Prize $400
• 7th–10th Prizes $250
• 11th–20th Prizes $100

Promised exposure: Small World Museum Tour throughout North American for 20 selected prize winners; calendar published with selected winners; published in online gallery.

What the winners say: 2011 2nd prize winner Dr. Donna Stolz says that she received a lot of unsolicited emails requesting to use the image for various applications. “It was great to hear how others enjoyed the images,” she says.

Photo by Donna Stolz

Verdict: A. This grade may come as a surprise, but Nikon’s competition serves its purpose beautifully – gives photographers in an extremely niche subject the chance to showcase their images and receive recognition for their work. And the hefty cash prizes don’t hurt, either.

Communication Arts Photography Competition

Entry fees: $35 for single entry; $70 for series.

Prizes: n/a

Promised exposure: Included in Communication Arts Photography Annual and on commarts.com.

What the winners say: Michael Schnabel won the Advertising category and says that he views photo contests as part of his marketing strategy. “My work gets promoted through the contest, and potentially I reach an interesting audience I wouldn’t otherwise,” he says. “And if people already know me, then they are reassured of the quality of my work.”

Photo by Michael Schnabel

Winner of the Unpublished category, Garry Hanan, says: “There is always good exposure in being able to talk about winning the award, but the target market for [Communication Arts] magazine makes a huge difference when it comes to potential exposure.”

“For me personally,” adds Gerry, “the benefits included being able to win new business with an ad agency I hadn’t worked with before, and a shift in the mind of some of my existing and potential clients. There are few things more validating than winning a competition like this, and there is always value in validation. Maybe that win keeps you going when business is tough and you feel like packing it in.”

Verdict: B. Communication Arts is widely circulated among art directors, creative directors, designers, and other buyers in the commercial/advertising industry, so if your work fits this genre then it may be a worthwhile investment. There’s the chance that one of these buys will hire you for a job, but otherwise the payoff for winning is minimal.

Now tell us

What other competitions would you like to see covered (make sure to check out Part 2 of this post!) Leave your thoughts in the comments.

Capturing Joe McNally as he rises up in a crane to shoot the world's largest telescope for National Geographic.

Drew Gurian and two other members of Joe McNally's team try to keep warm out in the desert as they shoot hour-long exposures.

Drew Gurian shoots behind-the-scenes video at a shoot under a circus tent.

We learned all about the setup, gear, and technique that Joe McNally, Drew Gurian, and the rest of the team used during these shots. But perhaps more importantly, over the course of the hour video interview below, Drew outlined his five main reasons why working as a photography assistant is worth it.

Click here to view the embedded video.

Here are a few of our notes:

1. Soak up the photographer’s knowledge and expertise – in Joe’s case, his incredible way with lighting.
2. Enjoy the security of a full-time job when assisting, while still making time to cultivate your personal style.
3. Take advantage of all the networking opportunities when working with an established photographer, and build your confidence working with clients.
4. If you have the chance to travel with the photographer, make sure that you utilize the time to shoot for your own portfolio – you might not get to go there again!
5. Remember that your experience working on set is key to learning what to expect in the photo industry, and gives you a leg up when you set out to make it on your own.

You can join Drew Gurian and Joe McNally for a very special workshop on September 11 in New York City as part of Luminance 2012. Joe McNally is holding two limited-seating workshops, along with Robert Seale, Zack Arias, and Brian Smith. Find out more about the workshop and the 26 speakers at the conference the following day – including Facebook, Google, 20×200, Getty Images, and more.

If we stick with editorial licensing, the market is further divided into magazines, journals, websites, newspapers – the list goes on. In fact, publications of almost any sort (whether they have a natural bent or not) have a need for nature photography. Photo buyers can attest to the competitive market and the high bar set for natures photographers.

Photo by Jody MacDonald

In our free guide to Selling Nature Photography, buyers told us that making it in the industry comes down to knowing how, when, and where to pitch. Senior Photo Editor Elizabeth Krist from National Geographic says that a photographer who has specialized knowledge of a topic or “access to rare events or hidden worlds” gets her attention. Meanwhile, Venita Kaleps, Photo Editor at German GEO, says that when it comes to finding new photographers to work with, “Our photo research methods cover the world market. We go from Google searches to international magazine clippings, and book publications to photo competitions.”

In this competitive market, it’s very important to know how the editorial selection process works. So we put together 6 questions that you, the nature photographer, should ask yourself before pitching to editorial clients:

1. What type of shots does this publication run?

Don’t send 100 images of migrating cranes to a sports publication and expect them to trust your ability to capture their audience. Knowing the content of a magazine before you send photos is key to making a good first impression.

Photo by Grant Kaye

2. Does my work fit in the publication AND add something extra?

This can be a fine line to walk – as German GEO’s Photo Editor Venita Kaleps says about nature photography, “It’s all about raising the bar and finding new angles.” And there are always trends, but in the end, many buyers still goes for a classic, well-crafted image. Molly Scharfenaker, from art consulting firm Nine dot Arts, says ”While trends are interesting and new, there is nothing better than a perfectly executed nature photograph.”

3. Can I utilize my own expertise?

Because nature photography is such a competitive market, one way to make yourself stand out is by becoming an expert on at least one particular topic. If you have made it your business to stay up-to-date on the environmental status of a certain type of fish, you are much more likely to get the job photographing them than another photographer. Regardless of how beautiful the other person’s images are, your captions will be more informative – and this helps reduce the work of editors and writers. Adds Nat Geo Senior Photo Editor Elizabeth Krist, “Photographers who happen to focus on needed specialties – like archaeology – have a better chance of attracting my attention.”

4. How can I promote my brand, but not be too pushy?

Adventure photographer Jody MacDonald says that when she sends an email to prospective clients she makes sure to list her past work, explain what she can offer, and then lets her images speak for themselves. And as wildlife photographer Martin Bailey says, “You just have to be nice. If you treat people with respect then they will respond in kind.”

Photo by Martin Bailey

5. Do direct mailers still work?

You might think that everything is done digitally these days, but some editors still like a good old fashioned mailer. Heather Marcus, Photo Editor at Yankee Magazine says, “I still like old school print promos in the mail. If the image is intriguing to me, it will definitely make me want to check out more work on the photographer’s website.”

6. What makes a good email pitch?

When you’re pitching, be sure to include information that shows you have a good understanding of the story’s topic. Vanita Kaleps, Photo Editor at German GEO says, “Email promotions work best for me if there are small edits. I’m looking for a series of images with captions that show [a photographer] knows the subject, tells a story, or makes [the images] relevant and focused.” Elizabeth Krist of Nat Geo says that securing a referral ahead of time, if possible, and including it in the subject line is another good way to reach out.

Want more tips from photo buyers and successful nature photographers? Download our Selling Nature Photography guide for more on how to market your work and bring clients through the door.