Whether it’s a small independent zine or a global brand magazine, getting published does something for your photography that social media can’t. It holds you to a higher standard.

When you get published, your work enters a conversation. You’re not just posting to be seen; you’re submitting something for editorial approval. You’re forced to think about story, tone, sequence, typography, layout, and the bigger picture your image will sit within. That pressure — that editorial discipline — is what separates working photographers from hobbyists.

Click the link below to explode this into your personal machine.

	Cwntr 001 5.88MB ∙ PDF file
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CWBTR MASTHEAD - (FEATURED)

I’m printing a bunch of new work this week and really tightening and adding to my site.

I’ve been crazy on instagram posting daily inspiration, follow me there if you do that kinda thing.

The Value of Being Published (Even Unpaid)

I know a lot of emerging photographers hesitate when a publication doesn’t pay. But being featured in the right publication, even unpaid, can be incredibly valuable when it aligns with your niche or artistic direction. It gives your work credibility, shows taste, and puts your name in front of editors, art directors, and other creatives who might hire you later.

Think of it this way: your first few publications are proof of concept. They show that your work meets editorial standards. And once you’ve got one or two, the next ones get easier because now you have validation. The key is to choose wisely — go after publications that speak to your target audience or to the clients you want to attract.

Best Practices for Getting Published

1. Study the publication before submitting.
Don’t just send your work anywhere. Study the tone, subject matter, and visual language of the publication. Ask yourself: does my work fit, or can I create something that does? Check their masthead (like the CWNTR one I mentioned). Look at who’s responsible for photography or visuals — those are the names to note.

2. Build relationships, not just submissions.
Editors remember contributors who understand their voice and make their job easier. When you reach out, keep your email short, clear, and personal. Mention why you think your work fits and attach a low-res PDF or 6–8 carefully sequenced images. Don’t send a link with 200 photos. Be selective.

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3. Show personal work that aligns with editorial storytelling.
Publications rarely want what’s already on your Instagram. They want something fresh, narrative-driven, and cohesive. If you haven’t shot a project like that yet — make one. Treat your personal projects like assignments. Give them a theme, a story arc, and an intention behind the images. That’s what gets editors interested.

4. Follow up, respectfully.
If you don’t hear back after a few weeks, a polite follow-up is completely appropriate. Editors are busy, but they do appreciate professionalism. Sometimes your work isn’t right for now but might fit something later.

Why Personal Projects Matter

Everything I shoot for magazines started as a personal idea first. That’s the beauty of being a photographer — we don’t wait for permission to create. You can make your own editorial-style stories and submit them to publications that align with your vision.

This week, I printed a bunch of new work and added it to my website. I’ve also been posting daily inspiration on Instagram. That discipline of shooting, editing, printing, and refining is what keeps me sharp — and it’s exactly what you need to start building an editorial presence.

And here’s the kicker: the last run of personal work I shot this week was made entirely with an iPhone 15. Not the Pro — the base model. That’s how far the tools have come. The camera isn’t what matters. What matters is your eye, your concept, and your execution.

A Final Word

At the end of the day, this is bigger than just getting published. It’s about what you stand for as a creative. It’s about making work that means something — not just to clients or editors, but to you. Every picture you make adds to your story, and the more intentional you become with that story, the more opportunities start showing up.

I’ve spent 35 years making pictures for magazines, brands, and campaigns all over the world. But what excites me most right now isn’t another assignment — it’s seeing photographers everywhere level up, tell their truth, and bring more positivity into this industry.

That’s what I’m trying to build every day — through my YouTube channel, my Instagram, and The Carty Method community. I want to create a space where photographers around the world can learn, grow, and push each other forward with honesty, kindness, and real craft.

If that sounds like something you want to be part of, follow along.

👉🏾 Subscribe on YouTube — I drop new videos every week breaking down the mindset, business, and craft of photography.
👉🏾 Follow me on Instagram — I post daily inspiration, behind-the-scenes stories, and the kind of real talk this industry needs more of.

Let’s keep pushing this art form forward — together.
Because when photographers grow, the whole creative world gets better.

Thx for getting to the end. I hope the magazine and this brought you value.

PS. Still here? Watch my morning stories on Instagram. They’ll get ya going for the day.

And how about another addition to this magazine with a bigger feature?

	Cwntr 002 Cartys View 2 797KB ∙ PDF file
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