1 – We do, but just occasionally. We are a relatively small, and busy staff, so the best way to reach us is through a drop off.
2 – Rob – I pretty much agreed with your answer @ 12.
3 – Its important. We watch out for it just as much as any other style. Thanks Massimo.
4- Russian Esquire is fantastic. I just wish I knew how to read it.
5- (3) I’ve hired some relatively green people for some big assignments. If someone is passionate, the work is “there”, and I know I’ll be able to work with them well, then published experience is just a small factor.
6- Websites should be easy to navigate, not take a lot of time to load, and show a selection of your best work. You don’t want to muddle up a website with your entire archive. I also enjoy seeing links to personal work.
8- It all comes down to collaboration. You have to make strong arguments about your perspective and surround yourself with supportive people who push you creatively.
9- Some people almost convinced me that I was Rob for a while…
10- At most (most) magazines the Creative/Art Director is involved on either approving or suggesting photographers or styles for stories. They are responsible for the overall visual aesthetic for the magazine, so there is a close, collaborative bond.
16- At a certain point you have to let your work – work for you. Persistence, for the most part, is an admirable trait, but send out a promo…touch base once, maybe twice a year…and let the cards fall where they may.

Thanks Rob for the forum.

Here’s one for the both of you:
A freelancer photographer wants to work for you. How persistent can they get before you call security? Where’s the common ground between, “That kid’s determined” and “That kid is crazy as hell.”

I’m a pretty subtle guy. Sometimes I think if they don’t call me, why call them? But obviously you want to make an impression. Thoughts?

Great q&a guys. Thanks much.

-Marshall

@11. Chris: Video would be great and next time I’m in the city I might try that with a few brave volunteers.

Back before Rob was “out”, I was convinced APE was actually Michael Norseng. He’s got a similarly smart, worldly, intellectual view of the industry.

My question for Michael concerns the culture of a publication/magazine and how easy it is to change a culture.

I work for a large publication in Chicago, but our culture and style has become very stagnant. As a Photo Coordinator I am always trying to push new photographers, edgier design, anything to bring something fresh to the newsstand.

Although Esquire has always been ahead of the curve and seems to produce great covers and layouts each month, do you ever encounter difficulties trying to stay one step ahead and not become repetitive?

Thanks again guys,

Kevin

My question:

Michael, I’d be interested in your take on website portfolios. Any insight you can give on what works for you would be great. For example, do you like to see a wide variety of images? Just the photographer’s best work? Personal work? Or do you like to see a set of images from one story that show the photographers ability to capture a whole story?

Thanks

1. What’s your policy on retouching images once they’re in-house?

2. Do you have a standard usage contract or is usage determined on a case-by-case basis?

3. How much professional experience does the shooter need to have to be considered for an assignment? How green can they be?

4. How often are shoots attended by staff?

Thanks for the insight, Michael and thanks for the forum, Rob!

A Question:

How do you decide when to use black and white versus color for an article? Is this decided up front and you go find the photographer? Or, do you have photographer in mind that works primarily in Black and White and it seems like it his work will best complement the story?

Would be interested in how you did it also Rob.