<![CDATA[MY SITE - BLOG]]>Tue, 20 Jun 2023 09:46:21 +0100Weebly<![CDATA[HOW TO WIN NATURE PHOTOGRAPHY COMPETITIONS – 15 helpful tips]]>Fri, 02 Oct 2020 13:24:42 GMThttp://www.sophie-stafford.com/blog/how-to-win-nature-photography-competitionsAs Editor of BBC Wildlife Magazine for 10 years, I judged and co-managed the Wildlife Photographer of the Year competition in partnership with the Natural History Museum, London. Over the ​past 16 years, I’ve also had the pleasure of judging nature photography competitions all over the world, from World Press Photo in Amsterdam and Por el Planeta in Mexico to Russia’s Golden Turtles and GDT European Wildlife Photographer of the Year (see a full list here). And of course I judge images daily for my work as an Editor of nature magazines.

Understanding how photo judging works and what goes on behind the scenes could help you to improve your chances of success. So I’ve prepared 15 tips to help you…

 
1. Identify the way a competition is judged
 
The Wildlife Photographer of the Year competition receives more than 40,000 images each year, and this is rising all the time. There are more and more competitions, and more and more photographers entering them. So it can be hard to make sure your image stands out in the crowd.
 
To decide which of your images stands the best chance of success, you first need to identify how the competition judging works.
 
For example, step back in time and you would have found that the Wildlife Photographer of the Year competition – still the one to win for most people in our industry – was judged in three rounds. Round 1 removed images that were obviously flawed or didn’t fulfil the brief, such as cows and clouds and children. Round 2 and 3 were carried out by two juries of up to nine people, all of which were top photographers, editors or other image professionals. 
 
Today, Wildlife Photographer of the Year has one jury of about six judges, including a chairperson, and they judge all three rounds of images themselves, first at home and then at the Museum. 
 
Most photo competitions are judged remotely – either wholly or during the early stages – and so the jury may never actually get together to discuss the images. Judges may be sent more than 15,000 images to review and score at home, usually using a points system. Often, every category is judged by at least two judges, and their scores are combined. The images with the highest overall scores tend to be the winners.
 
On some competitions, the top-scoring images may be assigned their final positions in the competition by the head judge or chair, who may look for a good overall balance of images to make a great exhibition or book.
 
These two different selection processes result in some very different images rising to the top. But more about that later.
 
 
2. Make an impression – fast!
 
For World Press Photo, a jury of experts from around the world convenes in Amsterdam. So many images are entered in this prestigious competition that, when judging the nature categories, each photo is displayed on a huge screen for only a few seconds. So your image has to work very hard to make an impression in just a fleeting moment.
 
Even when judges are working remotely, it takes days of work to review 15,000+ images. Of necessity, judges have to work fast and images must leap out or risk getting passed by.
 
It’s only in the later stages of judging a competition that there’s more time to dwell on each image, to discuss its merits and consider if it has grown on you or if its impact has actually waned over the course of the judging. Some images that are hot favourites from the beginning may have lost their magic by the final day of judging. While others that may not have leaped out at the start may have lingered in the judges’ memories every night until they become an unstoppable contender for the final line up.
 
Of course, if you’re a bit worried by this, it’s important to remember that judges tend to be used to assessing hundreds and hundreds of images quickly. So they have a trained eye for a good picture, and it’s not hard to pick them out of the crowd at a glance.
 

3. Read the rules
 
Before you start choosing which images to enter in a competition, make sure you’ve read the rules carefully and know exactly what is and isn't allowed.
 
In recent years, competition rules have become both looser and tighter. New techniques such a photo stacking are now often allowed, while RAW files are intently scrutinised for elements that have been removed or changed in contravention of the rules.
 
Technical reports produced for competition judges can be extremely thorough and pages long. It’s really not worth getting a stunning image thrown out simply because you removed a tiny distraction that, while not ideal, certainly doesn’t ruin the image. Look to deal with it in a way that is allowed within the rules.
 

4. Identify the categories with lower numbers of entries
 
In any competition, there are always categories that everyone enters – these are the hardest to achieve success in. For Wildlife Photographer of the Year, the bird and mammal portrait and behaviour categories are always popular – and the standard is always high.
 
The now-abandoned Garden Wildlife category gave far more opportunities to shine, and there’s more room to surprise in today's PhotoJournalist categories.
 
So when considering where to enter your shots, read the category descriptions carefully and don’t always go for the easy or most obvious category, as there may be more entries in those.
 
In some competitions, images may be moved from one category which is stuffed full of potential winners to other equally-suitable categories that have fewer potential winners. This is at the jury’s discretion and only for images that have a genuine chance of being winners, and it does not happen in every competition however, so it’s best to choose your own categories carefully.
 

5. Study past winners – but don’t copy them
 
One mistake many people make is attempting to copy previous competition winners. The year after an image wins a contest, there’s always a rash of lookalike images entered. But you’re unlikely to make it through to the finals this way. The impact of your images is reduced and it simply increases the chances of your hard work being put straight on the ‘seen it all before’ pile.
 
By all means, look at past winners for inspiration. Most professional wildlife photographers delight in analysing other people’s pictures in competitions, magazines and on Instagram.
 
So flick through a book of competition winners fairly quickly to see which pictures jump out – and then analyse why. Seek out pictures by the big names in wildlife photography and ask yourself what makes their work special. Then apply what you’ve learned to your own work.
 
It’s worth knowing that the type of shot winning the Wildlife Photographer of the Year competition has noticeably shifted over the past 13 years, with only two being traditional long-lens shots and the majority creating a more intimate effect or showing the subject’s relationship with its environment.
 

6. Choose your subjects with care
 
Ten percent of the world’s species make up 80% of all the entries in Wildlife Photographer of the Year and I have no doubt it’s the same in other competitions.
 
Popular subjects, such as lions, tigers, elephants, Japanese macaques and polar bears, demand extra effort to stand out. Anything too obvious will have been done before and probably by hordes of others.
 
So if you want to photograph a popular subject, you’ll need to dig deep to find a fresh and alternative approach. When it comes to the crunch, no jury is going to keep six lion shots in a final line up of just 100 photos, so at least three of them will have to be rejected, no matter how brilliant they are.
 
Despite some people’s worries, pictures of common and familiar species close to home stand just as much chance of winning as images of more exotic, rare and unfamiliar ones. In fact, they have a better chance, simply because there is more opportunity to surprise the judges.
 
So it’s not what you photograph – it’s the way that you do it that counts.
​
 
7. Edit your work ruthlessly
 
Now you’ve read the rules and the categories and you’ve carefully considered what subjects will give you the best chance of success, you need to be honest with yourself and start editing your images carefully.
 
It’s all too easy to become emotionally attached to certain images or to special moments you remember fondly. And this is when people tend to enter ‘almost’ shots. Resist this temptation. The sad fact is that ‘nice’ or mediocre shots won’t win, no matter how much your gran loves them.
 
Be hard on yourself. Is the image pin-sharp or is it slightly soft? Is the light subtle and beautiful or harsh and contrasty? Have you captured a perfect moment or have you just missed it?
 
Try making a shortlist of images – ideally two or three times as many as you’re allowed to enter – and then invite another professional to have a look, comment and even help you make the final selection. They don’t have the emotional attachment that makes it so hard for you to separate the fun and challenging shots from the really good ones.
 
Your images need to be technically flawless – well exposed, perfectly sharp and pleasantly composed. So before you enter, make sure you’ve looked at them with a critical eye and identified any flaws a jury will spot at a glance.
 

8. Be original
 
When you look at winning images in competitions, you no doubt say “I could do better than that!”
 
There are no hard and fast rules to explain why one photograph wins a competition and another doesn’t, but there is one key ingredient – originality. The judges are looking for something that stops them in their tracks, something fresh, whether revelatory, thought provoking or simply exceptionally beautiful.
 
Remember that the judges look at thousands upon thousands of photographs so they are desperate for something really creative and surprising to leap out from the screen. Try using the formula RUM to help you choose:
 
R - Relevant
U - Unique
M - Memorable
 
The pictures that fulfil all of these criteria are the ones that usually win.
 
 
9. Don’t give up
 
Judging photography isn’t a precise science. If the decisive factor was merely technical perfection, it would be better judged by a computer. But it’s also about art – so it’s emotional and subjective.
 
So if you enter your best image and it gets thrown out in the first round, don’t lose heart. Enter it again the following year when another set of judges may feel differently about it.

Give an image three years to make an impact. Then, if it’s not won anything, it’s probably time to accept that it’s not the best work the judges are seeing. Just don’t give up too soon.


10. Pick the right photo for the right competition
 
Now you’ve got the basics, it’s time to return the judging process we started with.
 
You’ll remember that some competitions – often the larger ones – are judged by a jury that gets together, while other competitions are judged by individuals who work alone.
 
When a jury gets together, the judging is a very dynamic process. Each judge influences the others, sharing their view of an image in a compelling and convincing way. Sometimes they sway others to see the image as they do, other times the rest of the jury may be resolute and unmoved.
 
This is an exciting creative process, and a great opportunity for more unusual images to make their mark. A ‘wild card’ image with a keen advocate on the jury may go on to win a competition, and be a talking point for everyone who visits the exhibition.
 
By comparison, competitions that are judged remotely work on a points system. With this judging format, images that impress all the judges – being technically excellent, interesting, creative and generally pleasing to all – rise to the top.
 
Images that may split a jury – pictures that one judge may love and another simply ‘not get’ – are less likely to succeed in this sort of jury system. So it may be better to play it safe and enter your most solid but arguably less surprising shots in these sort of competitions, and reserve any images that are more creative or challenging for competitions that are judged by a group jury.
 
Certain competitions are known to embrace novel views of nature more than others – and by studying the winners from past years on their websites, you can start to identify which they are. For example, GDT European Wildlife Photographer of the Year actively encourages its jury to look for more creative interpretations. 
 

11. Use your full quota of entries

​A well known photographer once said to me that it was always the shots he entered only to “make up the numbers” that won the prizes. So once you've entered all the shots you genuinely believe have a chance, enter some 'wild cards'. You may be surprised.


12. Do some research

If you think you've taken a unique shot, do some online research to check. A simple web search will bring up a lot of similar images and allow you to see if what you've got is sheer genius or has been done before.


13. Don’t leave entering to the last minute

​Every professional photographer does this and websites often run slow when all the entries come in at the same time, making the process of uploading your high res extremely stressful. Each year, add the deadlines for the competitions you want to enter to your phone or laptop, so you don't accidentally miss them. And plan some time in your diary a week or so before the deadline to enter your shots.


​14. Be careful – not all competitions are the same
 
I’m sure you’d rather be out taking photos than sitting at your desk entering competitions, so when you do, make sure you’re spending your time wisely.
 
Ask yourself what you want to achieve from entering competitions. Are you interested in your work being seen by thousands of people, or knowing where you rank alongside other professional photographers? Do you want a big cash prize or to highlight an issue you care about to a wider audience?
 
If you can answer this question, you’ll be better able to pick which competitions will best help you achieve your goal.
 
There are so many competitions these days and while some offer the winners international press coverage, money prizes and flights to an awards ceremony, others offer little more than a pat on the back and free book. However if that book will enable your work to be seen by more people, including commissioning editors, then this may still work for you.
 
Just be careful to read the rules. Some competitions operate what is known as a ‘rights grab’, which means that by entering you may be granting the organiser permission to use your image however they wish in the future, without further payment. These competitions may be rewarding in the short-term, but longer term you may wish you'd never entered.
 
Generally speaking, competitions that offer winners the chance to get together with their peers and other industry professionals and network like mad are the best ones to enter. The most exciting thing about attending the Wildlife Photographer of the Year awards ceremony every year is the chance to see old friends, discover new talent and discuss ways to work together.
 
You should also check the rules carefully to see if your competition of choice upholds standards of ethics that match your own and runs any checks on images.
 
Wildlife Photographer of the Year looks for pictures that are authentic and true to nature. This requires a process of ethical checks, which for finalists includes checking RAW or original jpeg files. This means it’s vital that you don’t alter your image beyond what could have traditionally been achieved in a dark room. This can be limiting but at least you know everyone is held to the same strict standard.
 
Other competitions may embrace more creative or artistic interpretations and adjustments, and you need to be confident that your image is able to compete on this basis.
 
Once you’ve checked all of this out, I would suggest that you focus your efforts on a handful, maybe fewer than five, competitions – and make it your goal to understand the rules and how the judging works, study past winners and choose the work that stands the best chance of success.
 

15. Don’t be put off
 
Many of the world’s leading photographers will enter the world’s best nature competitions. But if you’re not a professional, don’t let that discourage you. Imagination, creativity and skill are not limited by profession or age. And in almost all serious photo competitions, images are also judged without the creators’ identities being known, so everyone is judged on the same level.
 

Now you know how to win competitions, I wish you the best of luck and look forward to seeing your best images in a competition soon.

]]><![CDATA[photography competitions you should enter]]>Thu, 12 Feb 2015 16:12:02 GMThttp://www.sophie-stafford.com/blog/photography-competitions-you-should-enterThere are so many wildlife photography competitions out there, how do you know which ones are worth your time and effort to enter? I've compiled a list of some competitions worth considering, from the most prestigious to little-known gems.
UK

Amateur Photographer of the Year www.amateurphotographer.co.uk

BBC Countryfile Photographic competition www.countryfile.com/subject/photographic-competition

Bird Photograph of the Year www.birdpoty.co.uk

British Photography Awards www.britishphotographyawards.org
 
British Wildlife Photography Awards www.bwpawards.org
 
International Garden Photographer of the Year “Wildlife in the Garden” category www.igpoty.com

Landscape Photographer of the Year http://www.take-a-view.co.uk

Luminar Bug Photography Awards www.photocrowd.com/photo-competitions/photography-awards/bpa-2020
 
(Every two years) National Insect Week photo competition, Royal Entomological Society www.nationalinsectweek.co.uk/competitions

*Outdoor Photographer of the Year www.opoty.co.uk
 
Royal Society Publishing Photography Competition (celebrates the power of photography to communicate science) https://royalsociety.org/journals/photo-competition/

RSPB Photography Contest‎ “Wildpix” (for children up to age 18) www.rspb.org.uk/discoverandenjoynature/families/children/join_in/competitions/wildpix/index.aspx

RSPCA Young Photographer Awards https://young.rspca.org.uk/ypa/home

Royal Society of Biology photography competition www.rsb.org.uk/get-involved/rsb-competitions/photography-competition
 
The Wildlife Trusts offer a range of local competitions www.wildlifetrusts.org/WildlifePhotography

Travel Photographer of the Year http://www.tpoty.com/ 


Underwater Photographer of the Year https://underwaterphotographeroftheyear.com/
 
Wildlife Photo Contest (Will Burrard Lucas)
www.wildlifephoto.com/wildlife-photography-competition


Wildlife Photographer of the Year, Natural History Museum of London www.nhm.ac.uk/wpy/

WWT Waterlife Photography Contest https://www.wwt.org.uk/discover-wetlands/waterlife-magazine/waterlife-photography-competition/


Zoological Society London Animal Photography Prize  https://www.zsl.org/about-us/zsl-animal-photography-prize

 
EUROPE

Asferico Photo Contest, Italy https://lnx.asferico.com/concorso/en/home_english/
 
GDT European Wildlife Photographer of the Year, Germany www.gdtfoto.de
 
Glanzlichter Projekt Natur + Fotografie, Germany http://www.glanzlichter.com

MontPhoto, Spain http://montphoto.com

Montier Photo Festival, France  www.photo-montier.org
 
Nature Photographer of the Year, The Netherlands www.naturephotographeroftheyear.com
 
Oasis Photo Contest, Italy www.oasisphotocontest.com/
 
Siena International Photo Awards (SIPA), Siena, Italy https://sipacontest.com

World Press Photo Award, Amsterdam, the Netherlands www.worldpressphoto.org


REST OF WORLD
​
Audubon Photography Awards www.audubon.org/photoawards-entry

Australian Geographic Nature Photographer of the Year http://naturephotographeroftheyear.com.au

Big Picture Natural World Photography Competition, California, USA www.bigpicturecompetition.org

Global Arctic Awards International Photography Competition, Russia https://arcticawards.ru/en

Golden Turtle international wildlife contest, Moscow http://wncontest.ru/en/about/

Hamdan Bin Mohammed Rashid AlMaktoum International Photography award, wildlife category (HIPA) www.hipa.ae
 
International Ocean Art Photo Competition www.uwphotographyguide.com/ocean-art-underwater-photo-competition​

International Photography Awards www.photoawards.com 
 
International Landscape Photographer of the Year, Australia https://www.internationallandscapephotographer.com/
 
Kuwait Grand Photography Contest, Middle East www.kwtphotography.com​

Mangrove Action Project World Mangrove Day Photography Awards https://mangroveactionproject.org/mangrovephotographyawards
 
National Geographic Travel Photo Competition, USA
www.nationalgeographic.co.uk/travel/2019/11/national-geographic-traveller-photography-competition-2020
 
National Wildlife Federation Photo Contest www.nwf.org/photocontest.aspx 

Nature’s Best Photography Windland Smith Rice International Awards, USA www.naturesbestphotography.com

Nikon Photo Contest, Japan www.nikon-photocontest.com/en

Ocean Geographic Pictures of the Year Awards http://ogpicoty.ogsociety.org
​
Picture of the Year International https://www.poy.org

Sony World Photography Awards www.worldphoto.org
 
Smithsonian Magazine Photo Contest 
https://photocontest.smithsonianmag.com/photocontest/
 
Wilderness Photo Competition https://wilderness-safaris.com/photo-competition

If I've missed off any great wildlife photo competitions, do let me know!
]]><![CDATA[How to survive a charging rhino: 16 life-saving tips]]>Wed, 11 Feb 2015 18:23:10 GMThttp://www.sophie-stafford.com/blog/how-to-survive-a-charging-rhino-16-life-saving-tips16 top tips from Bryce Clemence, rhino guardian and anti-poaching team leader in Save Valley Conservancy, Zimbabwe
1.     Rhinos will either run away from you or charge you.

2.     Rhinos do not give warnings or make mock charges – when a rhino makes a decision, it always follows through.

3.     Rhinos can cover 30m, accelerating from 0–55kmph, in just three seconds – do not make the mistake of thinking them heavy and slow. They will come at you flat out.

4.     Don’t panic and run – you cannot outpace a rhino. And, if you are in a group, don’t scatter – try to stick together. Make an escape plan before you approach and stick to it.

5.     Know which direction the wind is blowing at all times – be sure the rhino cannot smell you. Don’t forget, the wind direction can change.

6.     As you approach a rhino, make sure you identify all suitable escape trees near you (within three seconds’ distance) at all times, just in case you get into trouble.

7.     Never leave yourself with no cover – move from tree to tree.

8.     You have just three seconds to get out of a rhino’s path, so move sideways, not backwards.

9.     Move behind a tree – to the ‘blind side’ – and then climb.

10. Choose a tree with a girth of 30cm diameter or more and climb to a height of six feet, higher if you can manage it, as quickly as you can. Black rhinos stand 1.5m at the shoulder and you need to get above horn height. They can and do look up.

11. Rhinos use all of their senses – hearing and smell – and though they cannot see well, they can detect movement.

12. Make sure your escape tree is sturdy enough – a furious rhino may simply push down a smaller tree.

13. Rhinos will attempt to use their horn to toss you aside. They put their heads down when they run, so the horn is normally at thigh height on the average human and can inflict a terrible wound.

14. The impact of a direct hit at 55kmph can be as dangerous as a blow from the horn. If you are standing, it could break your back.

15. If you have no time to escape, and the rhino is upon you, dive to the ground and lie feet-first toward the rhino. It may miss you or it may trample you, so try to roll out of its way at the last minute.

16. Rhinos may be colour-blind but they react to red and white so avoid wearing these colours.


I hope this helps you to get out of a tight spot – but remember, the trick is to not get into one in the first place.


]]><![CDATA[HOW TO GET YOUR PHOTOS PUBLISHED: TIPS 51–60]]>Tue, 20 Jan 2015 18:32:52 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-tips-51-60As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the next 10...
Tip 51: Every story needs an angle. This is not just a description, but the narrative purpose that drives your story.

Tip 52: Edit your photos. Only put your best work on your website. Don't force an editor to wade through mediocrity to get to the good stuff.

Tip 53: Treat everyone you encounter – in the field and in the office – with respect. It’s a small world and people talk.

Tip 54: Ask about rates. Most mags have fixed rates for photos and won’t budge. Negotiate diplomatically to preserve your relationship.

Tip 55: Don't be aggressive when agreeing publication terms – or the magazine may be wary of working with you again.

Tip 56: Raise your profile. To get ahead you may have to work for free. Evaluate the exposure you'll gain to decide if it's worth it.

Tip 57: Providing a free website gallery may not earn money, but you could promote a talk, tour, book, prints or drive traffic to your site.

Tip 58: Enter photo competitions. It is time-consuming, but if you win a big competition it can be truly life-changing. 

Tip 59: Support a good cause. You will not only get a warm glow, you may also get access to great stories and competition-winning images!

Tip 60: Give talks. This will hone your nose for a story, teach you how to engage audiences and help you to identify your “editorial voice”.
We're nearly at the end of this series now and you're nearly a pro at getting your photos published. So now it's time to make sure you know what NOT to do.
]]><![CDATA[how to get your photos published: tips 41–50]]>Mon, 22 Dec 2014 19:09:01 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-tips-41-50As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the next 10...
Tip 41: Ask intelligent questions. Inquire about the mag's future photo needs and the suitability of any projects you are working on.

Tip 42: Be aware. Editors are always up against a deadline and don’t have a lot of time. It’s your job to make their job easier for them.

Tip 43: Give advance warning. Tell your chosen editor about anything big you are working on that you think they might be interested in, especially if you know they like your work.

Tip 44: Phone calls aren’t always the best way to promote your photos – every editor's time is tight. And never ever pitch via social media!

Tip 45: Less is more. Email the editor about 10–15 of your best images that showcase the quality and variety of your work.

Tip 46: Choose wisely. When pitching, concentrate on the pictures that are best-suited to the mag, its readers and your story idea. Don't just send everything you've got.

Tip 47: Target a section. Show you are familiar with the mag and have considered its needs by specifying which section you are targeting.

Tip 48: Think ahead. Many mags are “long-lead” which means that they work several months – or even years – ahead, so pitch early.

Tip 49: Keep it brief. Anything longer than a few hundred words will have the editor flicking to the next email (or making tea).

Tip 50: Be honest. If you've manipulated your images or used live bait, highlight this to the editor so they can make an informed decision about whether they want to use them.

There are still plenty more tips to come next week. Now you've pitched your story, it's time to impress with your professionalism and build long-term editorial relationships.
]]><![CDATA[HOW TO GET YOUR PHOTOS PUBLISHED: 31–40]]>Thu, 04 Dec 2014 17:47:05 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-31-40As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the next 10...
Tip 31: Be interesting. What every magazine wants is to sell more copies, so ask yourself how your photos can help them do that.

Tip 32: Build relationships with key editorial contacts. Getting published can be all about who you know.

Tip 33: Tailor your story. Don’t assume that one size fits all. Adapt your story angle to the readership and priorities of the magazine.

Tip 34: Getting published is not just about photos; patience, persistence and a willingness to study the magazine's needs are what count. 

Tip 35: Ask your friends. Ask other photographers if they have had success pitching to that mag before and, if so, how they approached them.

Tip 36: Get personal. Putting a face to a name can make the difference between getting an answer to your photography pitch – or not.

Tip 37: Introduce yourself. If the magazine is based in another country, you may need to build your relationships remotely. There's never a good time to phone – email is best!

Tip 38: Avoid the hard sell. Ask if the editor minds you sending over a few shots/ideas every so often and what format they prefer.

Tip 39: Stay in touch. Once or twice a year, send your stand-out shots with a friendly message. People do business with people they like.

Tip 40: Meet up. Identify key contacts on the publications you wish to target and arrange to meet them at the next big photography event.

There are still plenty more tips to come next week. Now you have made a good first impression on your target magazine, it's time to sell them your story.
]]><![CDATA[how to get your photos published: tips 21–30]]>Sat, 01 Nov 2014 18:15:03 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-tips-21-30As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the next 10...
Tip 21: Explore a photo library. If you know what you want to photograph, but don’t know how well it's already been covered, visit some agency websites.

Tip 22: Stick with it. Don’t assume that photographing a wildlife spectacle for one day, one week or even one month will be enough to tell its story. 

Tip 23: Is anything missing? Imagine a storyboard with all your pictures on and make sure you've covered all the key aspects of your story.

Tip 24: How to pitch. Once you have a story and some amazing new shots, you need to get to know your target publication in detail.

Tip 25: Buy the mag. Study several issues of the publication and ask yourself who it's aimed at. Identify what sort of content it prefers.

Tip 26: Look closer. Try to identify the sections that make up the magazine – features, news, reviews, masterclasses – and what their priorities are.

Tip 27: Be impressive. When it comes to your pitch, an editor will be more impressed if you can demonstrate an appreciation of their magazine’s needs.

Tip 28: Visit the magazine’s website. Look for advice on how they like to receive photo pitches and, most importantly, who to contact.

 Tip 29: Email the right person. Sections have different editors. Targeting the right one can mean a prompt reply instead of a long wait.

Tip 30: Avoid obvious mistakes. Never send your photos to a publication you’ve never even looked at. Editors aren’t stupid – they can tell.

]]><![CDATA[how to get your photos published: tiPS 11-20]]>Mon, 20 Oct 2014 14:59:51 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-tips-11-20As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the next 10...
Tip 11: Quality counts. Ask yourself (honestly) if your photos match the quality of the photos already published in your target magazine. 

Tip 12: Ask a friend. It’s difficult to be objective about your own photos, so don’t be afraid to ask for someone else’s opinion. 

Tip 13: Don't give up. If your photos aren’t up to the mag's standards take time to work on your technique and creative vision til they are.

Tip 14: Enjoy it. Don’t do it if you don’t love it (or you just want to make money). There are hundreds of people out there who do love it – and it shows.

Tip 15: Stories not stock. Selling stock photos is no longer a way to earn big bucks (sorry). Even photo libraries now look for image sets that tell stories.

Tip 16: Get connected. Link up with a science or conservation project and include key (model-released) people in your photo story

Tip 17: Stand out from the crowd. Every editor is swamped with content pitches every day, so you need to make sure yours catch his/her eye.

Tip 18: Free your mind. You might think it's impossible to show a lion, tiger, elephant or snow monkey in a new, fresh way. You'd be wrong.

Tip 19: Get something new. This might involve unprecedented intimacy, new, iconic or rare behaviour or a new technique or artistic interpretation.

Tip 20: Be original. Editors look for something that stops them in their tracks so show your subject as it’s never been seen before.
There are still plenty more tips to come next week. Next challenge – how to pitch perfectly.
]]><![CDATA[HOW TO GET YOUR PHOTOS PUBLISHED: TIPS 1–10]]>Tue, 14 Oct 2014 20:45:48 GMThttp://www.sophie-stafford.com/blog/how-to-get-your-photos-published-tips-1-10As a wildlife photographer, you probably dream of seeing your name on a multi-page photo story in a glossy magazine, but it's not always easy to get your work published. I've compiled 76 top tips to help you improve your chances. Here are the first 10... 
Tip 1: Tell a story. Magazines are all about stories. Focus on one species, place or project to get the original content editors look for.

Tip 2: Surprise me! Every editor’s mantra. Don’t overlook familiar or common species, find fresh ways of portraying them.

Tip 3: Sell your work. Don't simply invite an editor to browse your entire website to see if anything catches their eye. They won't do it.

Tip 4: Know what sells. Editors are always asked what they’re looking for, but inspiration is all around. Look at books, mags, ads and online.

Tip 5: Be different. Don’t follow the hoards to photograph polar bears or tigers. It’s been done hundreds of times and competition is fierce.

Tip 6: Be emotional. Take images of things that mean something to you. 

Tip 7: Take heart. It’s not only professionals who get published. Editors are constantly looking for new, fresh and inventive photography.

Tip 8: Be committed. You may need to follow your subject for a year (or more) to capture all its key behaviour and tell its story properly.

Tip 9: Be inspired (but don’t copy). Study the sort of images that win competitions, sell as prints, turn up in calendars and are used in campaigns. 

Tip 10: Stories are made of words, not just photos. If you're not a writer, suggest an expert, researcher or writer who can tell your story.
More tips will follow so don't forget to come back...
]]><![CDATA[man versus chimp: who would win?]]>Tue, 14 Oct 2014 20:35:26 GMThttp://www.sophie-stafford.com/blog/man-versus-chimp-who-would-winThis summer, I was asked to produce content for Cineworld's campaign to support the launch of Dawn of the Planet of the Apes.
Dawn of the Planet of the Apes sees genetically enhanced super-apes, led by Caesar the chimp, battle a band of beleaguered humans for control of the planet. The outcome would seem inevitable.

But, in hand-to-hand combat between prime specimens of both species, who would win: human or chimp? I looked at each combatant’s strengths…

ALPHA CHIMP
Height: 5'4 standing upright
Weight: 140lbs

 Weapon 1: Strength
Alpha Chimp is terrifyingly strong. His species has been measured as having five times the arm strength of a human male, due to more powerful muscles and better leverage. Primed by his arboreal lifestyle, Alpha Chimp has the strength to twist his adversary’s arm off.

Weapon 2: Teeth and claws
Alpha Chimp doesn’t need a gun – he has long canines and a powerful bite. He also has proportionately longer arms than Alpha Man – they are half as long as his body – giving him dangerous reach with his sharp claws.

Weapon 3: Speed
Alpha Chimp is an explosive sprinter, climber and fighter. He can jump higher and move faster than Alpha Man. He has less control over his muscles, so when it comes to action it’s all-or-nothing. But his extra power and speed come at a price – stamina is sacrificed. 

Weapon 4: Ferocity
Alpha Chimp is not messing around – he’s in it to win it. Aggression is a common part of his daily life and his relentless forward assault is hard to defend against. He doesn’t hold back and aims for Alpha Man’s face, hands, feet and testicles. He’s also unpredictable, which makes him even more dangerous.

Weapon 5: Strong bones
Alpha Chimp’s skull is thicker and his bones more dense than those of his human opponent, making it hard to knock him out. He’s not known as the robust chimpanzee for nothing!

ALPHA MAN
Height: 6'5
Weight: 300lbs

Weapon 1: Intelligence
With his superior intellect, Alpha Man has the edge – but not as much of an advantage as you might think. Chimps also have large, complex brains, they can plan ahead and are skilled at coordinating monkey hunts. Some are also experienced warmongers, systematically picking off members of neighbouring groups one-by-one.

Weapon 2: Control
Though humans are known to perform extraordinary feats of strength in life-and-death situations, Alpha Man cannot hope to match his opponent’s sheer power. However his nervous system gives him more control over his muscles, enabling him to execute more subtle moves.

Weapon 3: Training
Alpha Man is trained in hand-to-hand combat techniques – and he’s going to need every tactic at his disposal. He cannot risk getting too close to his opponent, due to the chimp’s strength and long reach, so he will have to try to attack his extremities eg hands and feet and wear him down til exhaustion takes the edge off his attack.

Weapon 4: Deception
Alpha Man has various tricks up his sleeve to distract and confuse his adversary. Throwing objects, kicking sand or dirt, head-butting or a sudden and powerful yell could all give him a momentary advantage over his primate opponent.

Weapon 5: Swimming
Alpha Man can swim, a talent that evades our closest cousins. This secret weapon may come in useful if there’s water nearby.

And the winner is…
Yes, that’s right. Physically, Alpha Chimp is a superhero compared to even the strongest human and would inevitably annihilate Alpha Man in hand-to-hand combat. But Alpha Chimp would need to have been captive-bred in order to overcome his species’ natural fear of humans. Wild chimps only attack humans in extreme circumstances – usually, they run away.

And, of course, what humans lack in sheer power we make up for in cunning. Afterall, all’s fair in love and war…

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