PR TECHNIQUE: GETTING A PHOTO PUBLISHED - Every picture sells astory. Getting a photo placed in a newspaper or magazine will earn youmajor kudos. But how do you catch the eye of the art editor? RobinLondner reports

Picture it - a front-page story in a top publication. Text winds up

and down, up and around in glorious column inches. There are out-quotes

from the CEO, a stellar product review, and a headline that will make

the client kiss your toes. It's the best press the company has ever

received, and it was all due to you.



Now picture the article with a photo that makes the CEO look like Lyle

Lovett, and turns his sleek product into something resembling a Sherman

tank. Or worse, imagine no pictures at all.



Photos can make or break editorial coverage. Few people know that better

than David Schemelia, a manager at Burson-Marsteller's media practice

and a 13-year veteran of the photo editor desk at the AP and United

Press International. Before that, he spent eight years as a staff

photographer on daily newspapers. Two years ago, he secured a New York

Times front-page photo for client St. John the Devine Church.



"Newspaper and wire photo editors are a world apart," says

Schemelia.



"It's much easier to get a photo on the wire if you have something that

is timely."



Schemelia says a photo sent over the wires has a better chance of

placement than one that more obviously comes from a PR firm. Newspapers,

he says, tend to lean toward staff-produced photos.



Larry Lippmann, picture editor at BusinessWeek, agrees that using

pictures from a PR firm is rare. His magazine, he says, uses them only

in desperation or for a small headshot. If agencies want their own

photos used, Lippmann says the quality will have to improve

dramatically.



"If they moved more toward something a little slicker that had a point

of view, even if they created their own point of view, that would be

great," says Lippmann, who urges environmental portraiture - a photo

that shows a person in a context - over a head-and-shoulders corporate

shot. "We're looking for imagery that has an edge to it, that tells a

story that relates to what the article itself is detailing."



Promotional shots such as a person holding a product go right into the

trash, Lippmann says. To get photos placed in a publication, he urges PR

people to study the photography in a few issues of the publication, just

as they should study text to determine where and to whom to send a text

pitch. And, just like editorial pitching, photo pitching can often be

best accomplished when tastefully tied to other news of the day.



To secure placement, then, PR execs can't rely solely on client-supplied

photos. Just as good PR people wouldn't just blast-fax a client-supplied

press release, they must take control of the photography process.



A sit-down session with a client can be the simplest way to determine

which elements the client wants to appear in pictures. Not every element

must be encapsulated in one photo. If branding, technical superiority,

and sleek design are all important to the client, consider a minimum of

three different photos, with additional pictures capturing more than one

element. For people portraits, try to remember that the photos will be

used for negative stories as well as positive ones, so 300-watt smiles

may be inappropriate. Consider capturing a range of emotions in a range

of settings.



When using a professional photographer to take stock business portraits

or pictures of company facilities, tell the photographer what you'd like

to see. But unless you have technical photographic skill or knowledge

yourself, it's best to explain your goals and allow the pro to use his

or her own judgment on things like lighting and shutter speed.



Some photographers use digital equipment, which can have the bonus of

instant previews on a monitor, which means you can OK, nix, or ask for a

retake of shots on the spot. Bear in mind, however, that despite the

continual improvement in digital technology, shooting to film is still

generally considered to give the highest-quality results.



To many publications, even the best agency-produced photos are

considered second-rate, so knowing how to give adequate (and polite)

direction to a newspaper, magazine, or wire-service photographer is an

essential PR skill - even if it must be done long-distance.



For a story in the LA Times business section, New York-based NYPR

account supervisor Susan Lindner gave instructions via cell phone to a

newspaper photographer 3,000 miles away on how to photograph people she

had never met at a company she had never toured.



"I wanted the company name to appear in the photograph, so I instructed

the photographer to move to the front of the building," says

Lindner.



"I tried to be as nice as I could, while still getting the branding

aspects into the photo." The resulting picture became the first

business-section front photo in the company's history - "a coup," says

Lindner.



For computer mouse manufacturer Logitech, tech PR firm Phase Two

Strategies had CEO Guerrino De Luca photographed with Doug Englebart,

inventor of the computer mouse. An AP stringer took the photo, and it

appeared in over 15 publications, including the front pages of The

Boston Globe and The Philadelphia Inquirer, and section front pages in

the Los Angeles Times, San Francisco Chronicle, and USA Today.



But whether your client manufactures computer mice or mousetraps, a

well-planned and executed photo can help sell a story. And a PR person's

ability to direct the shoot is an important skill to keep clients

smiling.



TECHNIQUE TIPS



1. Do speak to the client to determine which viewpoint and style should

be captured in each photo to avoid potentially bland shots of company

facilities.



2. Do review photographers' portfolios for quality and price. To speed

up the proof and approval processes, look for a photographer who can

provide on-the-spot digital previews.



3. Do think like an editor - the less obviously commercial, the

better.



Daisy Okas, VP at Weber Shandwick Worldwide's consumer practice,

describes how a technical photo of a man in a lab coat had better pickup

for the client, Kodak, than a celebrity photo.



1. Don't allow the client to portray a "zany" point of view, or

encourage inappropriate photos - like a picture of a smiling CEO wearing

a propeller beanie in an article about a company accident or crisis.



2. Don't badger photo editors of major publications. They tend to take

orders from the editorial side, so while you may want to pitch a story

with a photo, it's rare you'll have a photo you'll want to pitch without

a story.



3. Don't get bogged down in photographic minutiae. A good photographer

can translate your ideas into reality without being told which lens to

use. Advise, don't micromanage.



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