Editors really respect a well-presented article package. Stand head and shoulders above the other freelancers and offer your work in the best light by making sure that all elements of your article package are of the highest quality possible. Of course, your writing and photos should be top-notch, but raise the bar by making your presentation irresistible. Knock the Editor's socks off!
Here's a useful folder tip for you;


A QUALITY PACKAGE: Folder depicted at left: Marbig Ref. No. 2015512. Highly recommended for article package presenations. Comes complete with Cd-rom and floppy disc pockets, the whole secured by a plastic flap with a button.











Safely enclosed within will be these elements:


SUBMISSION (COVER) LETTER
This will be a formal letter with your letterhead (or name and contact details), addressing
the editor. Make sure it is dated (so they know when to file it).

There should be a breakdown of what is in your package, acknowledging any slides, floppy discs and CD-Roms, and a detailed description of your story.

TEXT
Article text
This should be a hard copy of your story, double-spaced with a clear headline. The body of the text should also have clear sub-heads that match your submission letter.

Floppy Disc
This should have your story saved in a variety of formats:

.doc: (Document - Microsoft Word)
.txt: (Plain text - typically Microsoft Notepad or equivalent)
.rtf: (Rich Text Format - Microsoft Word, but in a more versatile, easily resolvable format
.pdf: (Portable Document Files - Adobe Acrobat - a universally readable format)
.htm: (Universally readable web page format - can be opened with most web browsers)

This way, all bases are covered. Many a freelancer has been surprised to discover that the only compatible format a publication can use are .pdf files, (which means the freelancer needs Adobe Acrobat authoring software) or stories sent in the body of an email. Needless to say, this can be very frustrating, but it pays to be aware of the potential glitches and incompatibilities that can occur. By saving your story in an exhaustive spread of formats, you minimise the chances of compatibility problems. Don't forget to save your suggested image captions there, with a very obvious file name, like, 'Suggested Image Captions'. Save this file in all the above formats too.

IMAGE CAPTION SHEET(S)
A hard copy is necessary. When writing your image captions, try to make sure they are in the style of the magazine. Editors DO appreciate this. If the magazine uses a more creative format for captions, where captions have little to do with the facts, then a simple explanatory caption is the best way to go).

If you are providing the images on CD-Rom, save a copy of your image captions file on the CD-Rom, just in case. Also, make sure your caption sheets bring attention to multiple CD consists, where applicable.

PICTURES
Images: Slides or Digital on CD-Rom
If you are providing pictures digitally, then print out a 'contact sheet' with the pictures in thumbnails and the reference number or file name below. This should then cross-reference with the files as they appear on the CDs and indeed the suggested image caption sheets.

If there is more than one CD-Rom, label these CD-Roms, like "CD-Rom One of Four", "CD-Rom Two of Four". It is advisable to back up your main article text and suggested caption files on image CDs, just in case your floppy disc fails. (As they often do)

Thumbnail sheets can easily be printed on home inkjet printers, preferably on glossy photo paper at 300dpi (dots per inch). (More about how to make thumbnail sheets at the end of this section.)

Digital images should be saved as high-resolution (of at least 300dpi) universally-readable and uncompressed .TIFF files, so that both PCs and Macs can read them. Many publishing houses run Macs for their graphics requirements, so clearly file compatibility is a major concern.

If you're providing images on slides, then ensure that your slides are clearly labelled (suggest using Avery 35mm slide labels) with your contact details, and referenced for your cataloguing purposes. Once again, supply 'suggested image captions' sheets, but in this case there is no need to provide image thumbnail sheets - the transparencies are all anyone needs.

Don't forget: Put your contact details on all items in the article package!
Ensure that all details, like your name and contact numbers are on the CD-Rom and floppy discs. It's amazing the last minute calls you'll get because someone has misplaced your captions.

Don't forget your business card
Would you hand a presentation over to a client without your business card? Then you certainly shouldn't for an editorial submission.

You are wondering whether a 5 megapixel camera would yield file sizes that are large enough for large-scale magazine work, and my answer is a cautious "Yes ... maybe". Now let me qualify that Bob; I can state that you could use this camera for 80% of your needs, across a wide spectrum of newspaper and magazine work. Now I will put this into figures that will serve as an example:

A 5 Megapixel camera puts out images of around 17 to 18 Megabytes, at its maximum resolution. Assuming the unit has good quality lenses that will fulfil a decent spread of focal lengths (from wide-angle to at least the equivalent of a 200mm zoom lens) then you can work with these images to provide files at 300dpi which would comprise about three quarters of an A4 page, or not quite large enough to fill a typical magazine cover.

However, should you need to provide images that are large enough to run as a Double Page Spread (DPS) in a magazine (or A3 size), clearly an output of 18MB is going to be inadequate. (An A3 DPS is 44cm by 30cm, which at 300dpi translates to a file size of some 55MB.)

All is not lost however, for we can increase the size of digital images by interpolation, whereby an image is 'resampled' up in size by software such as Adobe Photoshop, resulting in a much larger image and therefore a much larger file size. The good news is that the sharpness of a high-resolution file can withstand being interpolated to the tune of 200% up in size, but much beyond that you will be looking at significant image degradation.

Back to the good news. In the case of images that need heavy-duty interpolation to bring them up to the required size (say if you needed to interpolate a 15MB file up to 55MB, for a DPS), there is a software plugin for Adobe Photoshop called 'Genuine Fractals', which guarantees image integrity and sharpness up to a 600 per cent increase in size.

So, would a 5 Megapixel camera suit your needs? I would say yes, IF you plan on using third-party interpolation software such as Genuine Fractals. Otherwise, you may well find that 18MB files are not sufficient for large-scale magazine use. Also bear in mind that an interpolated image cannot provide the same image quality as a raw file. So, a 55MB output from, say, a medium-format digital camera is always going to be superior in quality to an 18MB file that is interpolated up to 55MB.

We can continue talking of optimum image quality, however, forever. In practice, it is possible to use a 5 Megapixel camera for travel journalism. You just have to be aware that some interpolation will be necessary in order to provide images of an acceptable resolution.

For instance, I supply ALL my horizontal format images at DPS size (at least 44cm x 30cm at 300dpi) and ALL vertical shots are sized at A4 (30cm x 21cm at 300dpi). I do this because I never know which image an Editor may want to run as a Double Page Spread, or a Cover. Thus, by providing images at the maximum size, I am maximising the scope for my images to be run as Covers and/or DPS's. This translates to more money in the hip pocket at the end of the financial year.

Please see the examples, below for how interpolation translates to real-world use.

Best regards,
Stephen Rothwell.

ABOUT INTERPOLATION (RESAMPLING)
Once you have scanned or imported an image, you may want to increase or decrease its pixel dimensions (Image size), especially if you are looking to supply an Editor with images from a digital camera that are a little light on resolution. It happens! Just imagine if you managed to snap a digital pic of an enraged crocodile with your fishing line wrapped around its snout, but the image could not be printed larger than 10cm wide @300dpi. You'd be pretty sore, and ready to try just about anything to increase the file size.

The answer to this shortfall lies in interpolation, whereby the software adds new pixels to the image based on the existing layout - in other words, adding information to make the image size (and therefore the file size and its physical size on-screen) bigger.

Let's continue with that 10cm wide croc image, and see whether interpolation can improve the situation. The raw image comes out at 1181 by 807 pixels, which yields a print size of 10cm wide by 6.83cm high @ 300dpi. The actual file size is 2.73MB.

Now let's alter the document size field (print size) from 10 to 20cm wide, which yields a file size of 10.9MB. Such a radical increase in file size will inevitably result in a loss of image sharpness, but if interpolation is the only practicable method to increase the file size, then that's what has to be done.


More typically, file sizes are increased by no more than 200%, to maintain image sharpness and integrity.

If the image is sharp to begin with, quality loss may be quite acceptable. Bear in mind that as the exclusivity and impact of a picture increases, so will editors be more prepared to accept a trade-off in image quality.

Just to re-iterate: keep in mind that resampling can result in poorer image quality. For example, when you resample an image to larger pixel dimensions, the image will lose some detail and sharpness. Applying the Unsharp Mask filter to a resampled image can help refocus the image's details.


A HEAVY-DUTY INTERPOLATION SOLUTION!
If you have a whole bunch of archival medium resolution files (say, digital camera files of only a few MB each) that need to be interpolated 'up' in size and the normal Photoshop resampling isn't doing a good enough job, it might be time to consider investing in some third party, 'heavy duty' interpolation software, and one such title is 'Genuine Fractals 2.5' by Lizardtech software (used as a 'plug-in' to Adobe Photoshop) which enables the creation of practically 'resolution-independent' files from any size file, allowing the printing of enlargements without any significant degradation in image quality. In practice, this means that you can increase file sizes by 600 per cent without significant degradation.

It is worth mentioning that this software works best with digital camera files rather than film scans - which suffer from 'grain' which is more noticeable as file sizes increase. Some digital camera-toting freelancers are getting good results with this software, interpolating Double Page Spread images from the aforementioned 18MB files.

Genuine Fractals 2.5: http://www.lizardtech.com

EXTREME RESAMPLING EXAMPLES!
Don't despair when the only digital image you can source is a medium-sized .jpeg file. If the image is sharp and not too compressed (i.e. images used on web pages are typically too compressed for print media use) it is sometimes possible to increase the file size in order to make the image viable for print media use. It may not be possible to salvage a magazine cover from a moderate-sized .jpeg image, but there is certainly ample scope for publication in newspapers.


CASE STUDY: Roger Dickson - an Offbeatrips course graduate - managed to source a stunning digital photo (pic at left) of the largest Barramundi ever landed in Australia, from Alf Hogan and Terry Vallance, Freshwater Fisheries Biologists from Walkamin Dept. of Primary Industries, Far North Queensland.

Naturally, Roger wanted to use the gigantic pic to good use in newspaper covers and spreads, but the digital pic was a meagre 695k .jpeg file, although the resolution was tolerable at 2272 pixels wide by 1704 pixels high, saved at 9/12 on the Image Quality scale. At 300dpi, the image would print at 19.2cm by 14.4cm - not quite big enough for cover.


Roger decided to try interpolating the image, increasing its dimensions to 44cm wide by 33cm high @300dpi (5197 by 3898 pixels) for a new file size of 58MB. The relatively high quality of the original digital file meant that it withstood the radical interpolation.

Then Roger set about cropping the image to make it more appealing to Editors. The original image had too much wasted space at either side of the fish, also the pic had to be rotated to compensate for a slightly crooked horizon.


The final cropped image came out at 25.4cm wide by 25.54cm wide @300dpi (3000 pixels wide by 3016 high) for a cropped file size of 25.8MB.










This image made the front cover of Brisbane's Sunday Mail Escape travel section! (27/10/2002)
Its final printed dimensions were 23.2cm high by 23.7cm wide. Please see below for a scan of the finished product!

The Rolling Stone: These days it is eminently possible to fulfil all your writing, photography, sponsorship and marketing requirements 'on the road'. If you can organise your time to devote enough attention to marketing your work as well as covering the stories, you will do just fine.

The stay-at home travel writer: There are just as many travel writers that take only a few trips each year, but sell many articles from each trip - and supplement their earnings by writing press release-style topical articles, for which they do not need to travel. They can source pics from overseas governmental or private organisations, and overall enjoy a stable home life without too much of a dent in their earnings.

In summary, most of us fit between those two extremes. But it is absolutely essential to not only cover the stories, but to actively market them as well. This is not as tough as it sounds however, because once you become known to a few Editors, it's just a matter of emailing them your ideas for the month, and fulfilling their orders from your 'aritcles for sale' list.

I would never pretend that travel journalism is an easy option. It demands great creativity, imagination and tenacity. Travel journalism, however, suits certain personality types. These are people who do not function well when their lives are mapped out in the form of steady, predictable careers. Such people enjoy the fresh challenges and horizons that are inherent in following their own dreams; dreams that have real MEANING for them. If you fit into this category, you may be on the right track. If the thought of giving up a steady job fills you with horror, then travel journalism might be a good sideline or hobby, or a way of securing several paid holidays a year. There is no right or wrong approach. The most important consideration is that you enjoy yourself, and keep coming up with interesting stories.

Answer from Stephen Rothwell: It is more challenging to get established. Once you do establish several print media markets, it's then a matter of consistently coming up with new ideas for their pages. I would say that you need to have at least five 'zines/newspapers on board to keep a steady flow of stories circulating in the marketplace. But then this depends on your approach. I like to become thoroughly acquainted with each magazine - in fact I have had as many as five columns published in one magazine edition, spread across a variety of topics; travel, health, finance, motoring and general features. In essence, you decide how much you want to work, and how any ideas you want to come up with. Then, you sell each article many times over in order to extract the maximum revenue from each trip or each press release.

There are many ways of maximising article sales. Let me give you some examples of
my story-gathering methodology:

BEFORE a trip: I research a wide variety of story ideas at the planning stage, matching multiple story ideas (that are shared with editors in the form of query letters) with on-the ground material (tourism products, interviews, cultural information, wildlife phenomena, photo opportunities).

DURING a trip: I endeavour to find as much extra-itinerary subject matter as possible, by following leads based on interviews with local people, taking photographs that fit the formats of several magazines' individual sections as well as a wider variety of photographs that 'say' something about an area and can be used generically in several different articles.

AFTER a trip: I survey my original plan of attack (stories covered according to queries already submitted to editors) and compare it with how much extra material I have amassed 'on the road'. I lay out my full complement of transparencies and together with the additional written material I have gleaned, determine which extra articles to write and what extra information to include in my already-proposed articles. I may also consider re-angling my original stories, in light of the new information gleaned during the trip.

MULTIPLE FEATURE ARTICLE SALES BASED ON A CENTRAL STORY ANGLE
Firstly, I seek to explore what it is that I want to say about the region in question and this is usually taken care of with a series of feature articles with a particular theme. For my Kamchatka general feature article I went with the following theme:

"The world's wildest volcanic hellscape. Zero liability laws. Welcome to your adventure playground."

This theme was maintained while securing multiple sales of what was essentially the same article - with slight tweaks for each publication. Article based on this theme have sold 25 times. I have just re-angled this piece for a fresh bite at the marketplace, and more multiple article sales. The shift of emphasis was subtle however:

"STEPHEN ROTHWELL abandons the wheel on a quest to traverse Kamchatka, Russia's fiery wilderness peninsula."

This article emphasises the ruggedness of Kamchatka's terrain, and the endlessly inventive locomotion solutions employed by the locals; civilian-owned tanks, 'snowmobikes' (motorcycles equipped with snowmobile tracks), rustic 'Huck Finn meets Thor Heyerdahl' river rafts, insane mini-bike ascents of active volcanoes. The overall message was:

"When in Kamchatka, abandon all hope of wheeled transport. This is not a self-drive destination. If you're thinking of a Kamchatka holiday, just don't let any Mafioski conmen sell you bus tickets or hire car vouchers."

DON'T SELL ALL YOUR IDEAS AT ONCE!
We have established that it is eminently possible to sell one article to many print media markets, but how about selling that feature AND a healthy portfolio of splinter articles?

(1) COVER MANY DIFFERENT STORIES ON ONE TRIP, i.e. I wrote a Kimberley feature article based on a 22 day personalised media itinerary, the gist of which was:

"Western Australia's awesomely remote and rugged Kimberley region is almost completely unknown and those who do measure themselves against its vast scale experience a rare sense of modern-day exploration"

Kimberley splinter stories and angles
The theme above was used as the 'cement' to bring together several quite disparate story elements into a main feature article. Later though, each of these elements were used as articles in their own right. In the case of the Kimberley trip, I:

The above list of elements covered during the Kimberley trip is by no means exhaustive. Of course, you can appreciate what my modus operandi is all about. To firstly encapsulate what an area is all about via some general feature articles, then go on to explore various individual elements that I experienced during the trip.

(2) MAXIMISE OPPORTUNITIES Maximise opportunities while on assignment: I was commissioned by Men’s Review magazine (Malaysia) to cover the 2000 Borneo Eco-Challenge, held in the East Malaysian state of Sabah. Although the schedule was extremely tight, I followed several supplementary story leads, resulting in the following article sales:

“The Beautiful Kidnap Coast” – A tongue-in cheek look at the world’s kidnap epicentre – where lonely satellites of Borneo’s Sabah meet thug-strewn outliers of The Philippines, and where westerners scurry through very nervously indeed. This article was actually sold to the very magazine (Men’s Review) that commissioned me to cover the Eco-Challenge to begin with! This article was also sold (in modified form) to FHM magazine’s Singapore edition.

”Tree's Company” – An review of Borneo Rainforest Resort – a tourism conduit of the Danum Valley Field Centre – one of the world’s foremost tropical rainforest think tanks. The resort was one of the staging posts of the Borneo Eco-Challenge, (read fully-hosted stay) so I took advantage of the situation and penned an article that was subsequently sold in Singapore’s ‘Project Eyeball’ newspaper as well as Malaysia’s ‘Postcard’ magazine.

"Sailing with the Bajau Laut" - A peek into the lives of the Bajau Laut, or Sea Gypsies, of eastern and northern Sabah. I encountered these people while island-hopping, covering the Eco-Challenge. The story was sold to Singapore's Straits Times newspaper.
TOTAL ARTICLE SALES: SIX

The message here is that even when you are commissioned to cover an event, it always pays to keep your eyes and ears open for fresh prospects. Even if you are on an assignment, there is nothing to stop you seeking stories that are ancillary to the main mission.

In the above Eco-Challenge example, the original trip was fully-sponsored and the pay rate for the job had been negotiated. The publication wanted exclusive copyright of the assignment shots, but they could not expect any rights to shots that were taken as a result of extra initiative taken by the freelancer. Nor could they expect to have any interest in stories that were covered, extra to the job that was originally negotiated.

(3) Explore many different angles: You need to maximise your product range by employing a multiplicity of angles (or themes) for your story ideas. For example, a story about flying with Bush Pilots in Canada could be sold many times over;