Tuesday August 9th, 2011
New York-based photographer Moya McAllister has a somewhat unique perspective on the photo industry. Before striking on her own as a travel and food shooter, Moya spent 15 years working at various ad agencies and publications as a photo editor, art buyer and photo director. I recently caught up with Moya to chat about her experiences as an art buyer/photo editor and her transition over to the photographer side of the fence. This will be the first in a series of interviews of clients turned photographers. Enjoy!
- Jess Dudley
Can you give us a brief background on yourself?
My parents emigrated to the US from Ireland in the late 1950’s with three small children already in tow. I was born in Brooklyn—I’m the middle girl but the sixth child from a final total of eight kids. So I’m a first-generation American, raised with a very strong work ethic. We moved to a suburban area in Nassau County on Long Island when I was little. The most interesting thing about my childhood, I think, is how much we traveled as a family. Even with so many kids, my father and mother would pack us all up early for fishing, picnicking, camping & hiking trips; whether it was for a day, a week or longer. We took a month-long road trip to Montana when I was seven or eight, driving and camping through Amish country, the Badlands and on through the Rockies. We camped on a horse ranch along the Yellowstone River so my father could catch rainbow trout. I will never forget it. My parents loved this country. They wanted to see as much of it as possible; I think this is where my love of travel comes from. I’m happy to pick up and go whenever, wherever!
What sparked your interest in photography and how long have you been shooting?
From the time I was very young, I remember drawing, painting, and writing almost constantly. My first camera was a Kodak Instamatic 110 when I was perhaps twelve. I spent most of my babysitting money developing pictures of my dog, my friends, the sky. Fortunately, the public high school I attended had a large art department and I was able to take studio arts for all four years.
In my first year of college, I pursued a BA in Fine Art. During that year, I really discovered photography—I fell in love with taking pictures and being in the darkroom, watching images appear as if by magic in the developing tray. After that, I knew I wanted to pursue photography professionally; I was accepted as a transfer student to the School of Visual Arts, BFA Photography program with my black and white portfolio from the previous Fine Art class. I graduated SVA with the intention of being a magazine and newspaper photographer.
How did you become a photo editor?
Becoming a photo editor seemed to be the best option open to me, especially after a few lean years of assisting and trying to get freelance assignments to happen on a regular basis. At the time, the economic situation was somewhat similar as it is now and young photographers were having a hard time getting work. The attraction of the job as a photo editor would allow me to use the some of the skills I learned at SVA (how to look at and speak about photography) and still pay my bills. Since then, my career as a photo editor and art buyer has spanned many different kinds of photographic production and licensing—from news and magazine publications, television and cable broadcast, documentaries, fine art, books, PR, marketing and advertising. I’m not sure if there’s some type I haven’t done. I always knew I would go back to shooting full-time; I just didn’t know when that would be, exactly. So I never stopped shooting for myself, to keep my eye sharp and to keep learning—I have a whole body of work on film (still to be edited, of course) from those years. Someday, I’ll know what to do with it.
Do you think most art buyers are capable of crossing over into photo editing? I would think the photo editing would require a slightly different skill set.
Sure, why not? I think you’re right, there is a slightly different skill set for those job functions but they are very similar. An art buyer or art producer is usually a separate function from creative, they fulfill creative vision through direction and their emphasis is usually on procurement of talent and licensing the best deals for the client. They are not limited to photography, either. They need to know illustrators, CGI, flash animators, storyboard artists, all kinds of visual arts.
The photo director/editor role, on the other hand, may be more story-driven and more photography-heavy. Illustration buying may take up a much smaller portion of their time. They will most often be a creative collaborator with the editorial and art staff at the publication. Journalistic integrity is also needed to fulfill the role of a photo editor. They understand the story and accurately report captions, names, and information about the images. This is not usually as needed in an advertising model.
What part of your job as a photo editor did you like the most?
My favorite part of the job was talking with and directing photographers, either verbally or on-site. It was my job to be a conduit for the creative direction and the goal of the shoot, whether it was a magazine story or a web campaign or an annual report. I loved being on-location, collaborating with image makers and on-site producing amd problem-solving to make the best pictures happen.
What did you like the least?
Long meetings, paperwork, that kind of stuff. But I enjoyed being a photo director. it’s the next best thing to being a photographer, definitely.
What was the catalyst that started your transition from art buyer/photo director to photographer?
It was something I had always planned on, so I can’t say there was a specific catalyst, just slowly working toward that goal every year as I could.
Did you shoot while on staff as a photo director?
Yes, I had been shooting stories and campaigns for different clients the last three or four years while on staff. It wasn’t the main part of my job, but I really enjoyed shooting whatever was needed, from employee portraits to product shots to travel stories. Especially the travel stories! I felt enormously happy to be able to do both for a time. It slowly dawned on me that I could have a second career by going back to my first career, so to speak. When I graduated from art school, I didn’t understand how a photographer gets hired. But now, I think I have a pretty good idea of how it works.
What’s been the most difficult part about establishing yourself as a freelance photographer?
I think establishing a professional history and legitimacy is very important, and that takes time. Photo editors, art buyers and art directors need to trust that the photographer can deliver, which I understand first hand. I’ve been a freelance photographer full-time for about six months with a business plan that should take me through the next two years. I have started to build up a client base and know that my current clients will hire me again plus also refer me. After the meetings, and the portfolio reviews, and the e-mails, the most difficult thing for me right now is waiting for the phone to ring.
Have you learned anything as a photographer that you would have liked to have known as an AB/PE?
Putting together estimates is not easy! I often worked with photographers who had an experienced rep—those estimates can be put together pretty quickly because they have all that info already at hand. A photographer on his/her own has to check and recheck a lot of numbers to ensure they can accomplish the shoot within budget and still make a living.
As a former art buyer, what advice would you offer other photographers?
There are a lot of talented photographers out there. Often buyers are faced with very similar choices, with very similar fees. So what’s the difference between the one that gets hired and the one that doesn’t? It often comes down to this: who does your client want to work with? A pleasant, easy-going, collaborative photographer that makes them look good? Or a demanding, complaining or (even worse) disorganized photographer?
As a photographer, what one piece of advice would you offer art buyers working with photographers?
Try to give photographers as much background information as possible and as much freedom within the direction to interpret that information visually. Creating a great photograph with impact and meaning requires an understanding of the objective and the story behind the image.
You can check out more of Moya’s work on Wonderful Machine or on her website.
Thursday September 9th, 2010
Now, the post you’ve all been waiting for. We have an exclusive interview with Katie Noble, photo editor for the Improper Bostonian. Be sure to take a look at her desk.
-Asad Haider
What makes a photo great?
When I started my first job as a photo editor, I remember asking myself that question. In a sea of images, how would I recognize a great photo? So I gave myself a rule to help sort through images faster and feel confident in my decisions. It was as simple as… if I paused on an image. If I took an extra second to look at an image for whatever reason, then I knew that was a good image. Lots of times, maybe the majority of the time, I’m not sure why I like it in that initial pause. It’s just that gut feeling. After that pause, I realize it’s the composition, sense of humor, use of light, etc.
How did you get to your current job?
I grew up in a family that encouraged and practiced the arts (my mom is an oil painter and my parents own an art gallery in Vermont). I was terrible at math and standardized tests but did well in art classes. In college, I was an Education major, but it never really felt like a fit. On my last day as a student teacher, the naughty kid in my class stuck rocks in his ears and, at that moment, I thought this isn’t for me. So, a year or so later, after lots of jobs and a long trip through Europe, I moved to New York to study at Parsons School of Design for an intensive summer program. I then applied and became the assistant photo editor for Travel + Leisure. I’m still so thankful to the photo editor David Cicconi (now a photographer and owner/founder of Trunk Magazine) for hiring me. T+L was a dream job. But after about three years in NYC, I found myself leaving the city most weekends to get outside and visit friends in New England. I applied for the position of photo editor at the Improper Bostonian, and I’ve been here five years. Time flies.
Get involved. And have your cell phone ready. (Photo by Austin Walsh/Kansas City)
What’s the best way to get your attention?
I think the best way to get my attention, or anyone that you want to meet in general, is to be passionate about what you’re doing. To me, this means getting involved. Reaching out to members of the artistic community, joining non-profit and photography groups online, going to local photo shows, participating in shows and getting to know other photographers you admire. I don’t think this means you have to pay yearly fees to join organizations, enter lots of photo contests or spend a lot of money; photography is expensive enough! I think it just means putting yourself (and talent) out there. I found this PDN article very interesting that talked about finding a charity that you can support through your work. I believe this type of involvement can lead to other opportunities.
I also think it’s just as important to have a great body of work that’s technically strong and shows a signature style. I really appreciate a well-edited website of recent shots. I get frustrated when photographers send me websites and their images look like they’re from 1982. That work may be visually interesting, but it doesn’t apply to a lifestyle magazine that’s trying to look relevant.
What annoys you the most?
I think I get frustrated the most by budgets. Working for a local magazine, with limited resources, I’ve never had much money to put an issue together. The magazine doesn’t have deep pockets, and I’m given a yearly and issue-to-issue budget. I find it hard to pitch a story to a talented photographer with such a tight budget when I know they’re worth so much more. It’s all very humbling. To make up for the low rates, I try to be respectful of photographers. It’s important to me that their photo contracts are fair, they get paid on time, shoot something of personal interest and have artistic input.
What’s the most satisfying part of your day?
I was working on a shoot recently where the photographer I hired had to back out because of health reasons. I heard through the grapevine that a young photographer in town had shot the same subject a month or so before and was probably available. I gave him a call and within 10 minutes my problem was solved. He answered his cell phone right away, replied to my email, got totally on board with the shoot. It’s great when I can go from a big question mark to feeling confident I have a photographer who’ll nail a shoot from beginning to end.
There are many different ways of nailing it. (Photo by Tadd Myers/Dallas)
-Asad
Monday August 30th, 2010
This week Mark Murrmann, Photo Editor at Mother Jones, gives us five little slices of his life.
-Asad Haider
What makes a photo great?
Technical qualities—good light, composition, all that—only take a photo so far. What makes a great photo is an image that not only conveys some kind of information, but also works on an emotional level. It can be punch-you-in-the-gut direct, it can be more subtle, something that pulls you in slowly and allows you to wander around the image, keep coming back to it even if you aren’t sure why; it can be funny, witty, wry; it can be something that elicits a feeling of remembrance, something that reminds you of your own life; it can be horrifying, or gratifying. But it has to do something; it has to connect with the viewer. Of course, this is extremely subjective… and a really hard question to answer. There are plenty of good photos out there, even a lot of really good photos. But truly great photos are rare.
A good photo can punch you in the gut, but this guy got punched in the face. (Photo by Simon Bruty/Washington DC)
How did you get to your current job?
I was freelancing (and handing out camera equipment at a local art school photo supply room) when a friend who works at Mother Jones tipped me off they were looking for an art intern. I applied and got it. There was no photo editor while I was interning, so I stepped into that role, helping the then-art director (and current creative director) Tim Luddy with photo researching, looking for photo essays, eventually assigning. When the internship ended, I got offered the job of Associate Photo Editor. I’ve been here for about three years now.
What’s the best way to get your attention?
First, simply, have great, well-edited, work that is suited for the magazine. Or more, work that fits the magazine but pushes the boundaries of what people expect to see in Mother Jones; that always catches my attention.
If you work in an area outside of New York, LA or San Francisco, I am likely to spend a little more time looking at your work. We don’t have the budget to fly photographers around, so I’m always scoping out good photographers within a day’s drive of an assignment.
Coming in to show your book helps put a face to the work, and those personal interactions are good. But I don’t often have time to meet with photographers in person, and when I do have the time, I really prefer doing it in a more informal setting—over a coffee or beer, getting to know you and your work a little better than the typical in-and-out book showing.
Beer increases productivity in meetings. (Photo by Brian Kuhlmann/Chicago)
What annoys you the most?
Oh, I guess the usual photo editor stuff annoys me. Cold calls are near the top the list. I’m not into people who email or call again and again about whether or not I’ve received their promo or pitch. If you send me a pitch and it’s something we can use, you can be assured I will get in touch with you.
Let me just say, even if it’s not something we can use, I try to reply to as many emails as I can. I’ve been on the other side as a photographer, so I know how much time goes into not just shooting the work, but in the pitch. It’s really frustrating to not hear anything back. I try to write back as often as I can, even if it’s just a sentence or two. Sometimes it takes me a long time (like months) and sometimes I just don’t have time. But I do keep pitches (and bookmark sites) I think we could possibly use down the road, or that might fit with a story, or that I just like. So, just because you might not hear from me, or if I turn down a proposal that doesn’t mean I didn’t see it or that I didn’t like it. I always tell photographers to keep in touch and I mean it.
But really, the most annoying thing is when I reject a proposal and the photographer argues with me about it. That takes even more time out of my day and it shows a real lack of professionalism. There are many reasons I might reject a photo essay, none of them should be taken personally. I get anywhere from two to ten photo essay proposals each day. We run maybe six photo essays a year. It’s just hard to get work in the magazine. And that’s really one of the worst parts of my job, seeing so much really great, truly amazing work and not being able to get it in the magazine. It can be really frustrating.
What’s the most satisfying part of your day?
It doesn’t happen every day, but I really love getting in work from a photo essay or photo shoot and going over it with the photographer, getting their feedback, then showing it to the art department and editors and seeing the layout and everything all coming together just right, with the photographer really loving it (among everyone else). That is exceptionally satisfying, especially after all the work that goes into getting a significant body of work in the magazine.
