Kelley Miller is a former Senior Photo Editor with National Geographic Kids. After working there for over ten years, she decided to follow her dream of becoming a freelance photographer. She is now based in Spain and was kind enough to answer these five questions:
1. Giveus a little background on how you came to work for National Geographic
After studying photography at NYU, I applied to National Geographic and started as a photo assistant for the kids department. I had a supportive boss and co-workers who took note of my strengths and advocated for my growth. When I was promoted to Photo Editor, I was able to do more than the position normally entails. In addition to photo research, color-correcting, and art-directing studio shoots, I photographed stories and wrote and edited text for several departments.
While I was Senior Photo Editor, Kids Publishing and Media encompassed magazines, books, and digital, while also collaborating with the Education Foundation. Because of the mounting workload and diminishing budgets, I acquired new responsibilities including managing contract photo researchers for book titles. I focused my creativity on selecting cover images, creating and pitching photo stories, and generating new concepts for Little Kids magazine. I also enjoyed being a supervisor and mentor to the Assistant Photo Editor.
Photo by Kelley Miller
2. What was that experience like? Do you have any good anecdotes?
Being a photo editor for National Geographic was a lot of fun, especially within the kids department. I was constantly looking at cute animals and wacky stuff like famous landmarks recreated as chocolate models. In the morning I could be tracking down interior shots of the world’s largest cave or dogs in costumes. In the afternoon James Cameron and his team would be explaining how they built the sub Cameron used to descend to the bottom of the Mariana Trench. It was amazing to listen to National Geographic Explorers making significant discoveries and contributions to fields ranging from nanoscience to underwater archeology. Then I’d returnto my desk and schedul a photo shoot with a horse that plays basketball.
Creating content for kids involves more thought, care, and creativity than anyone (kid or adult) realizes. The team works incredibly hard, though, being submerged in entertaining and weird subject matter prompted plenty of silly moments between deadlines. Also, it’s always satisfying to work on a project for six or twelve months and then get to flip through the finished hard copy.
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Photos by Kelley Miller
3. How many in-house photographers are used per project and how many are hired from the outside?
National Geographic has two fantastic in-house photographers whom I used for studio-specific projects like scene set-ups, portraits, and product shots. Most projects use stock images that the photo editors find through agencies and individual photographers. We have hired a couple outside photographers to shoot stock or a small day assignment. In general, Nat Geo Kids doesn’t use new photographers because the style is specific and budgets are always tight. Plus, current stories we picked up typically involved events that already took place.
4. What advice would you give any photographer looking to find work with National Geographic?
Every photo editor at Nat Geo sees A LOT of work. The photographers who are interesting to look at have spent time developing a thorough story or their own aesthetic. There are also the photographers who are simply driven, persistent, and good at networking.
I mostly did business with long-standing photographers like Brian Skerry, who are a pleasure to work with. They are professional and kind and usually have an office manager to help deliver files and review paperwork while the photographer is out shooting. Working with new photographers can have mixed results. I like seeing what they’re capable of, but sometimes they require more coaching and follow-up than a schedule allows.
When hiring a photographer or licensing his or her work, I looked for someone with an amiable personality who had good quality images that fit our needs. A photographer may have an amazing photo of a dolphin juggling cats, but if he’s difficult to work with then we pass. Since I’ve spent plenty of time handling rights and payments, I greatly respect the people who have to make sure everything is properly cleared on time and paid.
Photo by Kelley Miller
5. Now that you’ve gone freelance and are experiencing what it’s like to wear the other shoe, so-to-speak, how has your experience as an editor prepared you for becoming a freelance photographer? Are there definite advantages to having been a former Nat Geo Photo Editor?
I look forward to continue working with Nat Geo as a freelancer and seeing what projects arise from its new merger with FOX. Outside of that arrangement, I’m excited I have time to play with photography again and try some experimenting. My experience as an editor made me conscientious of the design used for various platforms and audiences. I think about page layout a fair bit too. Ha-ha. Also, I worry less about competing with the gazillion photos that are out there and concentrate more on making images I’m excited about and want to show someone.
The biggest advantage coming from my time at Nat Geo is the experience of working for a global and highly revered brand. I was particularly enlightened to be there long enough (10 years!) to see it evolve with the constantly changing media landscape. That said, the reallyfun advantage of being a former photo editor at Kids: having a tremendous knowledge of nature, science, and fascinating places in the world. In the office, we joked that we would excel on Jeopardy, especially if the categories were all animal related. With a surplus of cool facts and wacky little stories, I always have something to contribute to a conversation.
You can connect with Kelley Miller on Twitter @KelleyCreates and Instagram @KelleyMoxie
