Pitching to photo editors: 12 tips for photographers

Photo editors have long been vital allies for photographers—mentors, collaborators, and champions of new work. In today’s digital age, those relationships are more accessible than ever, with opportunities to connect across platforms and borders. But with that access comes growing competition.

So how do photographers stand out and build meaningful connections with editors? We spoke to a group of seasoned photographers and editors to learn what makes a strong pitch. While every publication has its own submission guidelines, these 12 tips offer a practical starting point for presenting your ideas with confidence.

1. Send a curated series of images

When you pitch to photo editors, the best way to stand out is by presenting a cohesive, well-curated series of images. Instead of overwhelming an editor with everything you’ve shot, select only your strongest photographs—the ones that work together to convey a clear theme or narrative. This approach shows that you’ve thought about your project as a whole, rather than as a collection of disconnected images.

“I’ve found that collections do best,” says Long Island-based photographer Aakaash Bali. “Most editors, curators, or gallery representatives like to see a collective of images that follow a distinct visual and contextual theme. Working on a project within a theme makes your collection seem more ‘complete’ and is otherwise a better pitch option for publications.”

This method is especially effective in photojournalism, where editors want to see a story unfold across a set of images. Ideally, your photos should work together to create a strong hook or narrative arc. If you’re still unsure of what that hook is, take more time to refine your concept before submitting—it will make your pitch stronger and more compelling.

2. Pitch a finished project when possible

One of the strongest ways to pitch to photo editors—especially if you’re working in photojournalism—is to present a project that’s already finished. Editors are far more likely to respond positively when they can see the complete story, rather than being asked to fund an idea that hasn’t yet been realised.

“When I offer advice to photographers about pitching, I tell them that outlets are 99% more likely to commission a finished story, rather than fund a photographer’s project,” says Jennifer Kerrigan, a New York–based photo editor who works with photojournalists to bring important stories to light. “This is especially true if you’re cold pitching and don’t already have a relationship with the editor you’re reaching out to.”

That doesn’t mean you need to wait until the project is 100% done before making contact. “If the project isn’t completed, it’s still okay to reach out to an editor for feedback or to see if they have an interest in the story and would like to see it again once it’s finished,” Jennifer adds.

3. Research and understand each publication

A key step when learning how to pitch to magazines as a photographer is to research the outlet before sending your idea. Every publication has its own voice, style, and editorial focus. Taking the time to study their content will help you understand what resonates with their audience—and what kind of projects are most likely to catch an editor’s eye.

While it might be tempting to send the same pitch to multiple outlets, a generic approach rarely works. Instead, tailor your email and story idea to fit the tone and themes of each magazine or platform.

As photographer and photo editor Yodith Dammlash advises: “Know your audience and know their audience.”

4. Pitch work you’re personally connected to

When you pitch to photo editors, don’t just describe the project—share why it matters to you. Editors are more likely to respond when they sense a photographer’s personal connection to the story. Including an artist statement that explains your background, perspective, and motivation can make your work stand out, whether you’re focused on photojournalism or another genre.

Over the course of her career working with major publications in Washington, DC, photographer and photo editor Yodith Dammlash has seen firsthand how passion influences a pitch. “What makes a photographer stand out to me is their connection to the project they’re sharing,” she explains. “How they came to it, what they’ve learned, how the process made them feel. Every body of work may not be a passion project, but learning the creator’s vision makes the work more memorable. Share the process and connection.”

5. Stand out with fresh, original ideas

When reaching out to photo editors, originality matters. Editors and curators see countless submissions, and many stories have already been told in familiar ways. What stands out is a fresh perspective or an unexpected approach.

Vienna-based photographer Sascha van der Werf, whose work has been widely shared on Instagram and featured on prominent accounts, stresses the importance of originality. “Curators and editors are fed up with familiar, mainstream ideas they’ve already seen before,” he explains. “Lots of stories have already been produced and shot. But a lot of stories have not. There is always room for new creative approaches. Be different.”

For photographers working in photojournalism or considering how to pitch to magazines, offering a unique angle is what captures an editor’s attention.

6. Be thorough and cover the details

Details can make or break a pitch. Editors want to know you’ve thought through the idea, not just the story but also how you plan to execute it.

“If you want to pitch an idea, you should already have an enticing theme, links or pictures of any models you’ll be shooting, as well as a designer and styling team, where appropriate,” explains photographer, director, and cinematographer Steven Leone.

Whether your focus is photojournalism, editorial, or another genre, be specific. Tell the editor what resources you already have in place, and what guidance or support you might need. By laying out the details clearly—concept, collaborators, logistics, and deliverables—you make it far easier for a publication to commission or run your work.

7. Keep your pitch short and focused

When you pitch to photo editors, remember that they receive countless emails every week. The more concise and focused your pitch, the better chance it has of being read.

Get straight to the point: explain your idea, outline your plan, and highlight why it matters. Cover the essentials—theme, scope, and what makes the project stand out—but resist the urge to overload your message with unnecessary detail.

Your goal is to spark interest. If an editor wants more information, they’ll ask. A clear, streamlined pitch shows respect for their time and leaves them curious to learn more.

8. Build a social media presence

These days, if an editor finds your idea intriguing, their first step is to check your online presence. Your social channels act as a public portfolio, showing both the quality of your work and how you engage with audiences.

In addition to her photography, Iris Maria Tusa, editor of the street photography site streethunters.net, highlights the importance of visibility. “Online popularity nowadays is crucial: Facebook, Instagram, etc. I also believe in being part of photography communities. It is easier to grow in a group than all by yourself. Once you have a little visibility and an interesting project idea, more doors will open.”

Curate your feeds carefully and share only your strongest images. Beyond showcasing your work, connect with fellow photographers and editors—relationships built through online communities can open doors just as much as your pictures do.

9. Attend portfolio reviews to network

Sometimes the best way to pitch to photo editors isn’t through email—it’s in person. “Portfolio reviews are a good way to show your work,” says New York–based street photographer Poupay Jutharat.

Portfolio reviews give you the chance to sit down with editors, curators, and industry leaders, showing your work directly and receiving constructive feedback on how to refine your ideas.

Meeting face-to-face leaves a stronger impression than a digital pitch and can often be the start of a long-term relationship. If an editor connects with your work, make sure to follow up and stay in touch—networking is just as important as the images you bring to the table.

10. Ask for feedback to improve future pitches

Not every pitch to photo editors will be accepted—but that doesn’t mean the effort is wasted. Even a rejection can be an opportunity to learn if you ask for constructive feedback. Understanding how editors view your work can help you refine your approach and grow as a photographer.

“It’s important to get feedback to help you improve your work and aesthetic,” says Milan-based photographer Riccardo Dubitante. “Be respectful and humble.”

While some editors may be too busy to reply, others will take the time to share insights. Opening that line of communication can not only sharpen your future pitches but also lay the foundation for relationships that benefit your career long-term.

11. Be selective about where you pitch

When learning how to pitch to magazines or photo editors, it’s not just about getting published—it’s about finding the right fit. Make sure the outlets you approach share your vision, values, and style, so your work feels authentic in the context where it appears.

“My best advice would be to share as much of your work as possible and to be picky at the same time,” says photographer Jeremy Perez-Cruz. “Only accept jobs that align to your point of view and preferred work. It’s easy to say ‘yes’ to money—and if you need the cash, take it—but definitely consider your complete body of work and the opportunities that arise out of past commissions.”

Being selective protects your long-term reputation and ensures that every commission or publication strengthens your portfolio, rather than diluting it.

12. Stay persistent—keep at it

Rejections—or even silence—are part of pitching. That doesn’t mean your project isn’t valuable—it may just not be the right fit for that editor at that time.

“Be persistent,” says award-winning Australian photographer Mark Forbes. “Remember that editors and creative people are constantly seeing pitches and proposals. Just because it isn’t picked up by one person or agency doesn’t mean that your idea isn’t worth pursuing. If you can’t get anyone to take you up on your project, often the best way to get it out there is to go out and shoot it.”

Persistence is key: the more you refine your approach and keep producing work, the more likely your ideas will eventually find the right home.

Conclusion: How to pitch to photo editors

Pitching to photo editors and magazines takes persistence and clarity. By curating strong work, tailoring your approach, and building relationships, photographers can succeed in photojournalism and beyond.

About the contributor

Feature Shoot showcases the work of emerging and established photographers worldwide, highlighting those transforming the medium through compelling, cutting-edge projects, with contributions from writers from all over the world.