International photographer (Jan-Dec 1934)

Six The INTERNATIONAL PHOTO G RAP HER August, 1934 The Art of Selling Pictures By Karl A. Barleben, Jr., F.R.P.S. IAVING co-authored the book Cash From Your Camera and conducted a department on freelance photographic journalism for a year in The American Author magazine, I feel more or less well-equipped to discuss the problems of selling pictures to the newspapers and magazines. Actually, the problems involved could fill volumes, hence I can but briefly touch upon a few of the more frequent matters which are brought to my attention by budding Journalistic Photographers. Naturally enough a great many owners of cameras, hearing that real money is paid for pictures, become bitten by the "press photography" bug. It takes a bit more, however, than to be just bitten by the bug. One should first analyze himself before making any investments in equipment or attempts in a field for which he may not be entirely suited. What are the qualifications? That's a little difficult to answer directly, for as in everything else, more than one quality is necessary. The prime requisite is a thorough knowledge of photography. Unless one knows his camera intimately, how can he be expected to turn out satisfactory work? It is true that a good many newspaper staff photographers know only the rudiments of photography — but they have other vitally necessary qualities which get them by, and all they do is get by — they are not the top-notchers by any means. An artist who has but scanty knowledge of color values doesn't go far as an artist. Just go with the press photographer. As the camera is his canvas, brushes, and paints, he must know it and its principles. Or else — And when I say know the camera, I mean something more than its mechanical operation. As you have probably discovered, photography is more than releasing the shutter. The more one knows about photography the better. A good many youngsters seem to forget this. They think that because they own a camera they can set the world afire with it. Not so, unfortunately. More than the camera is needed. The first important necessary quality, then, is a good knowledge of photography. In fact, as far as camera manipulation is concerned, one must be able to handle the camera without even thinking of it. Learn the operation of the camera so that each movement of the fingers becomes mechanical. The reason for this lies in the fact that news pictures must be caught "on the fly", as it were. The mind should be able to concentrate on the subject. It has plenty to do in order to do that properly. When the thoughts have to drift back to the exposure about to be made, one loses track of the subject — momentarily anyway, and in this work, a moment may be all the photographer gets to secure his picture. Speed, plus accuracy, are demanded. Are you up to it without plenty of study and practise? No one is. Another personal quality that is most important is -hat mown as the "nose for news." What's this? Merely the ability to recognize a news story or idea which has salable possibilities in picture form. Pictures that sell are to be found here, there, everywhere, yes even right in your own back yard — if only you can "see" them. The "art" of sharpening the eyes and mind in this direction, it will be seen, is vital, for without the "nose for news", what are you going to make pictures of ? That is, if you want to sell them. Now this faculty may be cultivated. In most successful press photographers it appears to be an inborn characteristics — it's part of their natures, and they can spot a news story a mile away. But through diligent plugging, anyone should be able to produce enough for all ordinary purposes, to begin with, anyway. One often hears a would-be free-lance wail: "If only I could travel." Or "If I only were in Florida, or California, or New York." It is characteristic of the human race that the other fellow's lawn looks greener and fresher than our own. This is sheer bosh, of course. The fellow in sunny California yearns to be in New York, where "things are always happening." The chap in New York longs to be in California, where "countless interesting picture-subjects are to be found on every street corner." If these two lads were to realize that each is in a pictureproductive location and work it, they would be turning out pictures instead of lamenting their misfortune. The secret is to work your own territory, or at least the territory you happen to find yourself in at the time. It is not necessary to travel. It is not necessary to move. The country photographer has just as many interesting things to photograph as the city cameraist — the subjects may be a bit different in type, but nevertheless all are interesting fodder for the presses. As for the camera equipment, no one seems to agree as to what outfit is best, for each photographer's ideas are different. If a camera turns out the quality of work that is expected in press photography, that should be all that is required. There are certain points in camera design and construction which should be noted if one seeks a truly allpurpose press camera. The first thought would be to turn to the newspaper photographers and examine their equipment. One finds that the most popular camera in the United States for press work is the Graflex, and its Blocked Kick, winning game for University of Florida vs. University of Maryland. Leica 111629. F. S. Fellows, 813 Grand Central Ave., Tampa, Florida. 90 mm. Medium Telephoto. f-4.5 1/500 second. No filter. Dupont Superior film. Modified d-76. Paper, P.M.C. No. 11. brother the Speed Graphic running a close second. The Zeiss Orix camera may be considered a third. The first thing that qualifies the Graflex and Graphic cameras for press work is their sturdiness. Press photography demands a rugged camera first, last and always. We used to sit on our Graflex while awaiting a parade, the mayor, or whatever the event was we were assigned Please mention The International Photographer when corresponding with advertisers.