may account for that. This magazine is published by the Home Correspondence School, Springfield, Massachusetts.

The Student Writer, 1835 Champa Street, Denver, Colorado, published monthly, maintains an excellent market-list. Their notes are many, varied, and reliable.

Photographic magazines sometimes list markets for photographs, although not frequently.

American Photography, 428 Newbury Street, Boston, Massachusetts, sometimes publishes market-notices in its "The Market-Place" department, but they are scanty.

Photo-Era Magazine lists, when available, market-notes. Book-publishers wishing prints of special character have used this magazine as an advertising-medium.

Besides the magazines noted, other writer-craft and photographic publications may publish market-notes from time to time.

It is by no means necessary to buy both books and to subscribe for all the magazines; but if you can do so without financial discomfort, it cannot be otherwise than to your advantage. By all means, obtain one of the market-books and subscribe for one of the writer-craft magazines; and if you can add a photographic publication, so much the better. Even a market-book alone is a great aid; indeed, it is a necessity. Obtain one or both and you will be amazed at the number of times each can say, "Open Sesame" without stuttering.

The best salesman in the world could not induce a sane blacksmith to put in a stock of groceries. If the salesman has groceries to sell, he goes to a grocer and talks. Similarly, a photographer cannot hope to sell the most remarkable photograph in the world, unless he sends it to the right market.

Each magazine has its own particular needs; but the needs of different ones overlap so far, and are sometimes so similar, that a print offered to one and rejected by it may be very desirable to another; this applies to classes of magazines as well as individual publications. As an instance: Popular Mechanics, or Illustrated World, although requiring unusual photographs, rarely buy photographs of human freaks—but nevertheless the Saturday Blade (Chicago) uses just that sort of thing.

A few blocks from here stands the largest writing-tablet factory in the world: a photograph of it would not be acceptable to the rotogravure-sections nor to Popular Mechanics, Illustrated World, nor to Popular Science; yet such a photograph would be useful to an architectural magazine, a stationers' publication, or a local newspaper. When a photograph may be viewed from several industrial angles, as well as from a new-achievement or from a human-interest standpoint, the more likely are markets to open for it. The press-photographer should not stop until he has tried every possible market.

After one or two rejections, the photographer is apt to form the opinion that editors are prejudiced against his work because he is a beginner; but nothing could be further from the fact. One national magazine says; "Should we return what you submit, do not be discouraged. Sooner or later, if you study our needs carefully, you will succeed in finding what we are after." The same thing is true of every other magazine. There is not one of them but is eager to buy your wares if you offer them the kind of goods they want.

A rejection is not a rebuke. It is a challenge. It means that your "nose for news" has failed you—has played you false; or that you have tried to sell groceries to a blacksmith. Rest assured that no editor will willfully refuse to accept, pay for and print any photograph which possesses enough merit to warrant acceptance. The editor holds his chair only so long as he produces the kind and quality of magazine its owners want him to produce; and he can do that only by co-operation with contributors. Without contributors he is at sea in a tub. The editor is the best friend the press-photographer can have.

It matters not how much "pull" you have with an editor, or how near a relative you are, or how good a friend, you can't sell a photograph to him unless you "deliver the goods."

Elliot Walker observes: "The way to sell is to give editors what they want and in the way they want it." If you do that you can't fail if you try.

Nor will any editor reject your photographs because of his personal feelings. "The magazine-editor, in the first place, keeps his personal feelings tied up; in the second place, he would be foolish, indeed, to allow them to influence his decisions; and, in the third place, the editor 'ain't got no' personal feelings when it comes to buying material for his magazine."

There is only one course to pursue—send the photograph to every possible market for it in its special line; then see if it can be viewed from another magazine-angle, and try every magazine of that trend; then repeat and repeat and ship it away again and again. Don't stop until it has been returned from every market with the slightest possibility of buying it. Then sit up nights to discover another shipping-point for it. Keep on to the bitter end; but if your "nose" is working and you keep on steadily, the end will come rather suddenly, and it will not be bitter.

VII

A SURVEY OF MARKETS

What follows is no attempt to list and classify existing markets, but to offer a generalized survey of magazine needs by class. While the success of the small-town press-photographer is not in proportion to his city's size, the magazines which find their ways to him month after month do not disclose the whole field of markets to him. He needs something more—something to reveal to him the broad needs of magazines. This chapter has as its mission the summarizing of the needs of magazines of every class.

Thus, photographs taken all over the world, showing the beauty and commerce of the old and new eras, are eagerly sought by several magazines. Travel, 7 West Sixteenth Street, New York, wants photographs of out-of-the-way places, unusual methods of producing world necessities, and photographs of general travel interest.

The same may be said of the National Geographic Magazine, though the photographs and articles used by this publication are so specialized and exhaustive that it is rarely a free-lance writer can supply their needs—for they maintain their own staff of writers and explorers. However, if you are able to catch vivid photographs of wide travel interest, here is a most excellent market.

If you are interested in picturing homes, Country Life, Garden Magazine and House Beautiful are waiting for your prints. These magazines are very artistic and use only the best work; but they are interested in unusual gardens, beautiful lawns, landscaping, interior decorating. A house remodelled from a common building to an unusual or striking residence will find ready sale to them if photographs of the "before and after" variety are offered. Nature, sport, and building in the country are the specialty of Country Life, Garden City, New York; Garden Magazine is interested in nothing but gardens and ornamental horticulture, preferably of the personal experience trend. Same address as Country Life. House Beautiful, 3 Park Street, Boston, wants photographs of unusual types of interior decorating and landscape architecture. What a wealth of material a well-kept, modern home contains! Owners should readily give consent to photograph if the photographer explains his purpose.

Arts and Decoration, 470 Fourth Avenue, New York, also uses garden and house material, but runs also to the arts. Photographs of architecture, interior decorating, etc., here find another market.

So it is with the broad field of country-life magazines generally, as an example. House furnishing and "before and after" remodelling pictures are easily obtained and easily sold if well done.

Every class of magazines uses photographs: Literary magazines, Women's, Farm