5 Questions for Katie Noble, Photo Editor, The Improper Bostonian

1. Can you tell us about a recent shoot for The Improper Bostonian.

We did a cover shoot about 3 months ago showcasing local businesspeople. We decided to photograph the co-owners of a Boston boutique. Our original thought was to photograph them in a location that would have a view of the expansive street below. But after I did quite a bit of scouting it was clear that it wasn't possible for us to find an unobstructed view on a rooftop of the street below. So, instead we decided to photograph the two inside on seamless and draw in the background using an illustrator (Derek Aylward). It was a fun shoot to execute with the illustrator coming to the shoot and brainstorming what the final product would look like. We had a lot of people on the shoot all contributing to the final product as well, fashion editor, art director, design consultant, hair, makeup. In the end, I think we created a cover that was really original and fun.

2. Do you tend to always work with local talent, and shoot in Boston?

Yes, we tend to use photographers that live and work in the greater Boston area. Since we're a city magazine, I think it's important for us to use talent that's living in the area. That way we're using people that understand the city and its culture, and keeping things local. Also, since our budget is always a concern, using someone local is efficient since they know the "turf," and it minimizes travel costs, hotels, food, etc.

I'm always on the lookout for new photographers to contribute to the magazine. Students that have just graduated or are still in school, people moving in from other areas-- I think it's important to keep
the photography fresh. And I don't care about someone's client list, it's all about the work they can produce. At the same time, I also like to use photographers who are reliable and have been working with
us for some time. It makes life easier in terms of the logistics, and then also have a pretty good idea of what the results will look like ahead of time.

When we photograph celebrities for the cover, we often have to shoot in LA or NYC. In those cases, we'll use people located in those cities. I hire people based on the look of their web sites, their availability, budget concerns, and if their style jives with the theme and esthetic we're going for.

3. Can you tell us a little about yourself? How did you come to be
the photo editor of this magazine?

I've been the photo editor at the Improper for a little over 3 years. My career started at Travel + Leisure magazine, based in New York City, where I was initially hired as the assistant photo editor. I worked with a group of fantastic and talented people who had a passion for everything photo-related. I was able to take classes in photography at ICP. There I was often encouraged to shoot on my own time, to learn more about the photography masters, and to use the digital photography software programs (Photoshop, Camera Raw, etc). After living in New York for about 2 1/2 years I decided it was time to leave NYC and move to Boston, where I accepted the position of Photo Editor at the Improper. I'm always reading up on photography, photographers, checking out other magazines and trying to keep up to date on the software. I took a great photo class with my father last summer at the Maine Media Workshops. I would recommend the workshops to anyone in the photo field.

4. Are you looking at printed portfolios a lot these days, or are you hiring based off viewing photographer's web sites? What's the split like for you?

I would say when I first started I a saw quite a few portfolios and I would arrange for meetings if it seemed like the work fit into the Improper's style, or a particular project. Nowadays, however, I prefer to check a photographer's work online. I can see more work and look at portfolios quickly when I have time during the day. Time is often of the essence because we're frequently on deadline, so viewing online portfolios is a way for me to see sample work quickly. I probably see only a handful of actual portfolios every 6 months, whereas I look at about 5-6 online portfolios daily! I have most photographers that I like bookmarked on my computer, plus I track practically every local photographer, whether I work with them or not.

5. Do you ever receive pitches from photographers and would that be a good way to get your attention, or do you prefer to receive traditional marketing materials?

Absolutely- I like a fresh approach. It keeps things interesting! As an example, recently a photographer that I have worked with sent me a promo post card with a note on the back. It was a quick note that said "Just dropping in to say "hi." I look forward to hearing from you and working with you further in the upcoming months." I thought that was extemporaneous, but very classy and professional-reminding me about his work, without being pushy.

I look at every promo card that I receive, but the ones that catch my eye are the ones that aren't huge postcards or large folded posters, a simple 4 x 6 card printed with a few special images does the trick. And rather than a phone call, I would prefer an e-mail with a note, or an e-mail with a Web link to the photographer's web site. This approach may sound impersonal, but once I hire a photographer, we get to know each other much better.

Photo credits; above portrait (c)Tracy Powell, covers below; Celtics players, photography by Kerry Brett, Eric Mabius cover, photography by Tatiana Botton, shop owners, photography by Jorg Meyer/illustration work by Derek Aylward