In my opinion, it is a misnomer to think that the primary function of a story pitch is to score an assignment to shoot the piece that you are pitching. Of course, that result is always ideal –it’s just a bit of a challenge in the current editorial climate. Rather than looking at my own projects as though they need an editorial backer to complete, I look at ways to raise (and divert) funding into the projects that I find personally compelling. The pitch plays a roundabout role in this process in as much as it allows me to communicate a variety of things to existing and potential clients. Most important, the pitch allows the photographer to demonstrate the organizational skills required to approach assignments, to think about the bigger-picture issues related to the images, to work conceptually, and to demonstrate flexibility in imagining a body of work.

From this perspective, it is almost unimportant whether or not a publication funds the project being proposed; what is important is that the pitch presents you and your methods in a confident manner. As such, the pitch serves to communicate that you are a photographer that your client can have confidence in when they are thinking of where to spend their dollars. It doesn’t take too many conversations with buyers in the creative industries to realize that their plates are stacked high with work and the very last thing they want to think about after handing out a gig is whether or not the photographer is capable of completing the task at hand.

I use headings to format my pitches in order to make the most compelling case to the buyers I send to. Rather than just type up pages of rambling information, I work to break down the ideas so that it will be accessible to a client no matter how they approach it. I open each pitch with a synopsis. The synopsis is two or three sentences that sums up the idea in the most compelling and relevant manner possible. These sentences are sparse, direct, and tailored to the exact needs of the publication or buyer. If the client is a news magazine, I open the pitch with the relevant news hook; if the client is commercial, the pitch leads by trying to meet the buyer’s objectives in purchasing imagery.

In either case, these first sentences are critical. Out of the entire document, these sentences are the most likely to be read. Lose the buyer here and they’re not going to read the rest of your idea. Make yourself relevant and useful here, and there’s a strong chance they’ll hear you out for a few more sentences.

After the synopsis, I usually provide a section titled ‘Background.’ This section gives me the chance to educate the buyer about relevant issues related to the project. For example, if the project is related to upcoming legislation, I can explain the significance of the new law and explain its potential impacts. This section allows me to offer enough information so that the reader can become educated on the significance of the matter without too much trouble.  

I use the remainder of the document to approach the project’s possibilities. Usually this takes the form of two different sections: Hooks and Potential Images. The Hooks section allows me to make a bullet-pointed list showing all the potential issues to which the project is related. For example, a project looking at new bicycle trails in a town may be hooked on multiple issues. The obvious approach is to look at the trail as a feature, though it may also be expanded to explore issues related to public health, city expenses, urban planning, or alternative transportation.

The last section –Potential Images –is really a place to explore the bigger concept that you are proposing. I use this section to list different subjects that I hope to photograph for the bigger project. In a certain sense, this section allows you to storyboard the ideal trajectory of your proposal and shows that you have the ability to examine subject from more than one angle. Taking the same bike trail example, the obvious picture is of the trail itself; in order to fully explore the subject, you many consider listing things like the city council meeting in which the project is to be approved, photographing local bike vendors, finding clubs and organizations in favor of (or opposed to) the trail, looking at the landscape that will be impacted by the construction, photographing traffic congestion that will be alleviated by the trail, etc. The possibilities are limitless and this section allows you to road map the concept.

Depending on the person that the pitch is directed to, I sometimes make use of other headings to further break down the proposal. Things like budget, timeframe, alternative story-lines, and dates of significant upcoming events may also be important to include. No matter what, each page of the proposal has a footer with my contact information.

The long-term benefit of being proactive in sending out pitches is that it reinforces your value as a photographer who is capable, confident, and can take a big task and break it down into workable pieces. Whether or not the person that you are pitching purchases the idea is almost unimportant if they hire you for other work.  The secret is to earmark some of that money to fund the project that you’re really passionate about.  

Good luck and happy pitching.  

***

Matt Slaby is a Colorado-based attorney (and photographer). Matt attended the University of Denver College of Law on a full public interest scholarship. His experiences in law school include a PILG clerkship for ongoing civil work with El Centro Humanitario’s legal clinic as well as handling wage claims and contract issues for DU’s Civil Litigation Clinic. He is a founding member of Luceo and, in addition to his photography, brings his legal background to the organization. Questions, comments, and ideas for future posts are welcome. Please add them to the comments section or reach me here: mattslaby@luceoimages.com

**DISCLAIMER: Luceo Images LLC and Matt Slaby assume no liability for the information provided above. This information may not be correct when applied to your specific situation. Moreover, the information provided is not intended to create an attorney/client relationship and shall not be construed as legal advice.

In my opinion, it is a misnomer to think that the primary function of a story pitch is to score an assignment to shoot the piece that you are pitching. Of course, that result is always ideal --it's just a bit of a challenge in the current editorial climate. Rather than looking ...