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Photo by the legendary @albello55 … oh the irony Photo by the legendary @albello55 … oh the irony.
Advice! Big topic here but we’ve distilled down Advice! Big topic here but we’ve distilled down the highlights. There was lots of discussion around the benefits of having a distinct style or niche so it’s getting its own post soon. Otherwise, we can probably all agree on the importance of kindness, community, and business skills. But working for free? Most of you weren’t keen. Watch the video for the full report but in the meantime, what other nuggets of wisdom can you share? Worst advice? Best advice? Unpopular advice? Comment below and fine @hmphotoprof a follow.
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Photographers let’s talk holiday gifts! Photographers let’s talk holiday gifts!
Pricing & Negotiating: Brand Narrative And Interio Pricing & Negotiating: Brand Narrative And Interiors Photography For A Medical Client By @bryansheffield @wonderfulmachine Concept: Architecture/Interiors and Brand Narrative content of an upscale medical center’s treatment facility in an affluent area of a major U.S. city Licensing: Perpetual, Unlimited Use (excluding Broadcast) of up to 35 images Photographer/Director: Architecture and Interiors specialist Agency: High-end Public Relations Agency Client: Medical Center Summary I recently helped a photographer build an estimate for a client seeking brand narrative and architecture/interiors photography of their upscale medical center and specialized treatment facility. The client brief described atmospheric interiors, and stylized content of the location for use in the brand’s marketing and advertising efforts. The shot list consisted of 35 images created through eight unique set-ups within the location. The final use of the photography was described as client web and social placements, as well as advertising within trade and select consumer publications. We called this Unlimited use (excluding Broadcast). The client wanted to handle all the location coordination, location styling, employee/staff talent and talent coordination, wardrobe/hair/makeup styling, crew meals and crafty. Therefore, we included a Client Provisions section within the Job Description to note who would be handling these items. Fees The client had a prescribed shot list of what they wanted to capture. And so, based on the client, our budget range conversations with the PR agency, and the intended content use, I advised a Creative/Licensing fee of $12,000 for up to 35 images. This equated to $2,500/day for the shoot and an additional $9,500 ($271/image) licensing fee. The photographer was happy with the suggested fee and we were both under the assumption that only a handful of images would be used within any paid placements. CONTINUED IN THE COMMENTS
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Are you supplementing your income with non-shootin Are you supplementing your income with non-shooting work? I don’t want to make too many assumptions about why 39% of photographers are earning extra cash on the side (love of the hustle or necessity?) but I do have a breakdown of where that additional money is coming from so listen for more context. What about you? Is this a part of your reality?
@karlherberphoto promo 😍😍excellent 👏👏👏⭐️⭐️⭐️
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@jesswebbphoto promo 👌👌👍👍 @jesswebbphoto promo 👌👌👍👍
Demographics! Who are the folks that participated Demographics! Who are the folks that participated in the survey anyway? Swipe to see a few different demographic breakdowns. In theory, when we put some of these metrics together (how does gender or location relate to net income for example), we’ll begin to have a really nuanced view of the industry. What breakdowns do you want to see? What should we query on our upcoming survey?
Day Rate! This data was a bit tricky to extract so Day Rate! This data was a bit tricky to extract so feel free to weigh in below on how this squares with you. Who’s lumping in social media and non-advertising web use in a typical day rate fee? Does $3000 seem accurate to your experience as a commercial photographer? Who’s able to get addition usage? Listen for more context and give @hmphotoprof a follow.
A Photo Editor continues to provide much-needed tr A Photo Editor continues to provide much-needed transparency in the Commercial Photography business. Recent Instagram posts inspired me to write about my experiences as a working photographer. I’ve been a commercial photographer since the 1980s. My first ASMP chapter meeting, in the basement of a camera store, felt like an initiation into a world of seasoned pros. There was laughter, camaraderie, and—just as quickly—accusations of lowballing and client poaching. Discussions about predatory contracts, work-for-hire deals, and difficult clients were common. At the time, I was a young assistant, just trying to make sense of it all. What struck me most, however, was despite the tension in those meetings, these photographers were dedicated to creating great work for their clients. It took me years to realize that photography is a business like no other, and while we all use similar tools, the ways we practice and survive in this industry are incredibly personal. One of the biggest misconceptions, especially in online communities like A Photo Editor, is that we’re all playing by the same rules. We’re not. There’s an idealized notion of a “golden age” in commercial photography where clients paid handsomely, and photographers were revered for their craft. The truth is, there was never a golden era, while there have always been superstars, the rest of us have been adapting and figuring things out as we go. When I began my career in New York City, licensing and usage fees were standard practice. But the internet changed everything. Suddenly, clients had more places to use the same image and didn’t always want to pay for that extended usage. Then, when I moved to Pittsburgh in the 1990s, I realized business dynamics were different here; clients weren’t working from the same playbook, and I had to adjust. This industry doesn’t operate under one-size-fits-all rules, we each navigate our own unique landscape. CONTINUED IN THE COMMENTS
Marketing! Responses to the P:HMDYM study around m Marketing! Responses to the P:HMDYM study around marketing were mixed. Some folks are definitely struggling with Instagram and it sounds like Directories really aren’t all that anymore. What do you think: Is Instagram a “necessary evil”? Is SEO really “everything” for your business? Are you sending targeted cold emails and seeing results? What’s your approach to marketing? Tell us in the comments below and give @hmphotoprof a follow.
Photographers, what are we doing about abusive cli Photographers, what are we doing about abusive clients?
Video! Responses to the P:HMDYM study seem to sugg Video! Responses to the P:HMDYM study seem to suggest that requests to shoot video are less frequent than expected. What’s going on for you now? Can you charge more for these asks or is the client approaching video as just an add-on to an already busy day at no extra cost? Are these requests going up and how are you monetizing them?  What impact is video having on your business? Tell us in the comments below and give @hmphotoprof a follow.
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I’m excited to launch a new column where Heather I’m excited to launch a new column where Heather Morton @hmphotoprof looks at the data I’ve collected and presents interesting and informative themes, patterns and nuggets of wisdom. There’s a lot to talk about and we want to use information we’ve gathered to back it up. I’m also excited to partner with her on a new survey that will have more rigor and give us a better picture of the industry we all love. Please give her a follow and show your support.
A Year of Struggles “Between you and me, 2024 A Year of Struggles “Between you and me, 2024 sucks too. My market is shit tho. Should have moved 10 years ago. Had to take a job in home remodel/construction.” “I’ve been doing this for over 13 years. I went from having some of the busiest years of my career (2019 thru August 2023) to doing maybe 20% of that so far this year.” “Absolute dumpster fire of a year. If it weren’t for the 2 jobs I have been able to snag as of this summer, I’d be in some serious trouble.” “Worst year of my career.” “Two shoots a week in 2016, my peak. Then at some point, I raised my prices after realizing I burned myself out for relative peanuts. Did three shoots all year so far in 2024.” “Worst year on record for me in 15 years including COVID.” “I feel incredibly seen reading these comments. Being a commercial photographer can feel so isolating. You never know what’s really happening on the outside.” “Last year was bad, but this year feels like someone turned off the faucet completely.” “I had to get a 9-5 because I can’t get booked. I’m struggling so much, and it’s crushing me.” The Rise of AI and Economic Pressures “Lost out on 2 separate assignments because the client decided to turn to AI. This alone has made this year very ominous to the future of my beloved profession.” “Budgets are lower, usage isn’t a thing these days, and no one cares or can see quality.” “Inflation, AI, election, brands changing from big shoots to many smaller shoots to get more content for the ever hungry content monster called social media.” “Everyone wants to save money, and AI is becoming the go-to solution. It’s terrifying.” “I’ve seen jobs disappear overnight because they figured AI could do it cheaper.” “Clients are spending less, expecting more, and AI is just another nail in the coffin.” “This year alone, I’ve lost out on at least three jobs to AI. It’s really unsettling.” “The industry has been in decline for over a decade, but the momentum is getting strong enough that EVERYONE feels it and sees it now.” “Even the ‘big’ corporate clients are pushing back more on estimates than they used to.” CONTINUED IN THE COMMENTS
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Pricing & Negotiating: Brand Narrative and Interio Pricing & Negotiating: Brand Narrative and Interiors Photography for a Medical Client By @bryansheffield at @wonderfulmachine Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential. Concept: Architecture/Interiors and Brand Narrative content of an upscale medical center’s treatment facility in an affluent area of a major U.S. city Licensing: Perpetual, Unlimited Use (excluding Broadcast) of up to 35 images Photographer/Director: Architecture and Interiors specialist Agency: High-end Public Relations Agency Client: Medical Center Summary I recently helped a photographer build an estimate for a client seeking brand narrative and architecture/interiors photography of their upscale medical center and specialized treatment facility. The client brief described atmospheric interiors, and stylized content of the location for use in the brand’s marketing and advertising efforts. The shot list consisted of 35 images created through eight unique set-ups within the location. The final use of the photography was described as client web and social placements, as well as advertising within trade and select consumer publications. We called this Unlimited use (excluding Broadcast). The client wanted to handle all the location coordination, location styling, employee/staff talent and talent coordination, wardrobe/hair/makeup styling, crew meals and crafty. Therefore, we included a Client Provisions section within the Job Description to note who would be handling these items. CONTINUED IN THE COMMENTS
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Really not interested in wasting time on any of it Really not interested in wasting time on any of it.
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Uh…….. you realize Open AI is trying to destro Uh…….. you realize Open AI is trying to destroy journalism??
2023 numbers $77,000 spent on freelance contracto 2023 numbers $77,000 spent on freelance contractors $179,000 employee payroll (includes me) Employees make between $40k and $60k a year $20,000 office space (but I personally own the building so I pay myself rent) $8,000 legal and professional services $10,000 job supplies $7,700 advertising $8,500 gas $11,000 utilities Business is structured as an s-corp with myself and spouse as the officers Our clients span from publicly traded large companies to family owned, almost all based in Texas but some are international. I have 2 full time and 2 part time employees. For retirement I’m saving 8% of my income paid to myself in 401K. Saving $75-$100,000 a year of business income in money market account at 3% return We have three rental properties including the one my business offices out of that I am paying off still but will have one paid off within 3 years. Two are on Airbnb which my wife manages. Off most Saturdays and Sundays but occasionally we do have weekend shoots. I take about 4-6 weeks off a year for vacations but have staff still doing shoots. I work a lot almost all the time even on vacation a bit remotely, however since I hired a project manager I’ve been able to be more off duty on vacations. Every year for the last 6 years out business income has continued to increase and the business has grown. Typically work on a $3500/day rate, could be 8-10 hrs. This doesn’t include edited video, that is billed at about $500/final edited minute. There are other add-ons. We like to try to make about $5000-$8000 a shoot. Joint licensing is included as we use the content for our own marketing as well. We charge extra for exclusive. Payment terms are on net 30 so we always have a cash flow of income coming in for 30-60 days out. Most shoots are 8 hr days and we work in some hot, desolate and dangerous conditions. Specialized safety training is required for our people. CONTINUED IN THE COMMENTS
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“2024 has been a particularly challenging year f “2024 has been a particularly challenging year for me.” “Despite nearly 17 years of experience as a photojournalist, I’ve received only a few requests for assignments this year, almost none of which have come to fruition for one reason or another. A decade ago, I could reliably earn about $50-60K per year—a level of success I was proud of in this industry. Now, it’s hard to scrape together much more than $10K annually. It’s disheartening, especially since many of the photo editors I’ve built relationships with over the years have been laid off.” “In my 20s and early 30s I felt as though I thrived, but now, as a woman in my late 30s looking to start a family, I feel increasingly uncertain about my place in the industry. I’ve noticed that colleagues who seem to be managing are often supported by rental income or inheritances, which makes the struggle even more apparent.” “I’m at a crossroads, torn between returning to school for an entirely new career or finding a way to repurpose the skills I’ve honed over the years. Even adjacent professions feel out of reach—documentary filmmaking, for instance, seems like the domain of the wealthy. Transitioning to photo editing also seems nearly impossible, as even entry-level positions require previous experience.” “I continue to hold on, whether out of sheer determination or stubbornness. This profession is my identity, and I believe deeply that journalism is more important now than ever. Yet, it’s becoming increasingly clear that this commitment may be irresponsible and detrimental to my own future and the future of the family I so desperately want.” CONTINUED IN THE COMMENTS
“Awful. Looking to change careers and go back to “Awful. Looking to change careers and go back to school. Budgets are lower, usage isn’t a thing these days, and no one cares or can see quality. If I could charge time for being briefed on a project, doing test shots, and treatments for projects ‘that changed direction’, I could retire though.” “Promising. 15 yrs in advertising photography, South Florida based, my clients are national & international. 2022 was my best year to date, 2023 was rough, almost went bankrupt until 80% of my income came in Q4 and put me back on track. 2024 has been a marathon since January, just trying to keep up. All my clients are repeat clients, I’ve earned their trust over the years and they’re growing with me. I’m getting the numbers I want, but still feel there’s room for growth. I offer libraries to most of my clients now instead of 5-10 campaign images and I produce most of my shoots, sourcing team, talent, props, etc. Having multiple offerings has helped keep me busy and makes it an easy choice for my clients to come back to me. Best advice I can give is get out there and network. I’ve built my business on referrals and reputation. Your work has to be on the level, but after that it’s all who you know and how much they like you.” “Started out hopeful now dead since March. Shaping out to be my worst year since the pandemic.” “Better than last year but I’m just starting out. Definitely couldn’t survive without my spouse’s income.” “Weak. ‘22 and ‘23 were much stronger. However, the second half is showing promise. IF the fruit doesn’t wither on the vine.” “Better than 2023. i’m in corporate event and headshots.” “Really close to selling my gear because nobody seems to give a shit about what I do anyway. In this industry, it’s simply about who you know. Everything is so cliquey it makes me want to vomit. Trying to keep the love for what I do but all of these factors make it near impossible.” “I’ve never been busier. But I went in house a little over a year ago. The consistency of work is improving my skill set immensely. And I’m learning a tremendous amount about what is needed from us. As well as how to continually evolve and grow.” CONTINUED IN THE COMMENTS
“Honestly better than the past few years I’ve “Honestly better than the past few years I’ve been booking a handful amount of jobs each month I think 2025 feels promising but who knows the recession is coming.” “Not great, about half what 2023 was.” “Looking great, I changed genres after a couple challenging years. As a part-time photographer I’m starting to wonder if full time is an option in the near future.” “Worst year of my 18 year career as a lighting director and photographer.” “Terrible.” “Hopeful.” “Feast or Famine.” “Brutal .” “Terrible. Definitely my worst year as a freelance after 20 years. My last big client went from almost non-stop work to virtually nothing overnight. It’s a real fight for survival now and I foresee most freelance photographers I know leaving the industry this year.” “I am not having a very good year, financially speaking. The projects that are showing up are low budget and there are few willing to pay for what things are really worth.” “In the meantime I’m taking advantage of my free time like never before to do personal projects so creatively it’s a great year. Something I can’t do when I’m overworked, I try to see the positive side of this particular and difficult collective moment.” “Great! Since 2020, every year has increased income. I’m in a smallish market in the south, mainly commercial & editorial. A lot of corporate branding and headshots, architectural (residential mainly) along with editorial work for regional and national magazines. 2022 ~150k, 2023 ~250k, 2024 on track for ~300k or 350k. Been in business around 7 years.” “26, F, 3 yrs full time freelancing 7 years of professional experience, LA based. I’m a fashion photographer and dabble in freelance digital teching, retouching, and photo assisting. This year has been rough, I have one consistent client booking me 1-3 days a week. Otherwise photo work has been slim pickings if any at all. I’ve been mostly busy as a digital tech but even my retouching is slow. Photographers I’d work with regularly for assisting are not working… it’s real bleak out here. LOTS of talented and hardworking people but so little work.” CONTINUED IN THE COMMENTS
Anonymous Comment: This has been the worst year of Anonymous Comment: This has been the worst year of my career since I started working 15 years ago. I went from making 150k-300k in a year to this year making 10k so far, which are mostly from small editorial placements and a small amount of royalties. I haven’t worked since fall of 2023. No jobs in sight. I’m now on state health insurance and definitely going into my savings to make ends meet. Most of the money I’ve made in years past is tied up in real estate or my retirement (which I am so thankful for! But it means I don’t have a ton of access to cash), and I’ve gone through my emergency fund for “if I don’t work for 6 months.” I feel super lucky to have been able to put these reserves away, but the future is scary nonetheless. In addition — the industry has changed so much. The last few years, when I do work I get the same rate that I got 10 years ago, yet life is so much more expensive, not even considering the business expense associated with this career (gear, processing, insurance, accounting, etc). I have freaked out many times this year because of the lack of work, and the desire to start a family in this time of uncertainty. All I can do is continue to be active with my business relationships, work on my personal work, and try not to be too catastrophic. If there’s only thing I’ve learned it’s that this industry is in fact cyclical and it always comes back around. I have always had faith in the slow years (Covid! Omg!) but it’s hard to keep my head up right now. I’m relieved to hear I’m not alone but hoping everyone gets some real relief as in some real JOBS very soon. Love to all… “ CONTINUED IN THE COMMENTS
Let’s talk about the state of the industry. How Let’s talk about the state of the industry. How is everyone feeling? Anonymous form link in my bio. You can also DM me or post a comment. I’ll repost some of the comments for discussion.
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Pricing & Negotiating: Brand Narrative And Product Pricing & Negotiating: Brand Narrative And Product Photography For a Consumer Health Client By @bryansheffield at @wonderfulmachine Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Helping photographers build estimates is one of the primary functions of our producers. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential. Concept: Images of a Consumer Health brand’s products being used by talent in multiple scenarios Licensing: Unlimited use of all content captured for 4 years Photographer/Director: Brand Narrative and Portraiture specialist with a portfolio of similar content Agency: Medium-sized Client: Consumer Health Care & Product Manufacturing Client owned by a large global pharmaceutical brand Summary I recently helped a photographer/director quote on and negotiate a project for a client seeking brand narrative content of doctors, technicians, and patients using their products. The agency brief described photo and minor video lifestyle content of talent performing procedures within exam rooms, bathroom and bedroom home locations. The agency initially asked for an estimate including all production needs and 4 unique talent. The final use of the content would be client web and social, as well as consumer and trade publication advertising. The agency requested a 4 year Unlimited use license. They also made it clear multiple times that this was a formality for the brand and that they did not plan to use the images for OOH, Broadcast, nor POP. The agency intended to handle all retouching and video editing and asked us not to include quotes. We included a Client Provisions section within the Job Description to note who would be handling these items as well as all products to be photographed. Image 2 is the first estimate. CONTINUED IN THE COMMENTS
Part 2 of 2 @elizabethrweinberg provided this exam Part 2 of 2 @elizabethrweinberg provided this example of a treatment. Thanks Elizabeth!
Part 1 of 2 @elizabethrweinberg provided this exam Part 1 of 2 @elizabethrweinberg provided this example of a treatment. Thanks Elizabeth!
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@dandepew promo 😍😍😍 love it 👏👏👏 @dandepew promo 😍😍😍 love it 👏👏👏
@matthewberinato promo ✨✨✨✨ looks great👏👏👍👍
@aaronmckenziefraser #pleasedontcomehere @sketchha @aaronmckenziefraser #pleasedontcomehere @sketchharbour 🔥🔥🔥🔥absolutely brilliant 👏👏👏
@iantuttle promo ⭐️⭐️⭐️⭐️👍👍👍👍👏👏
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A Photo Editor (APE) is edited by Rob Haggart, the former Director of Photography for Men's Journal and Outside Magazine. Contributors include fine art photographer Jonathan Blaustein (@jblauphoto), Creative Director Heidi Volpe, photography consultant Suzanne Sease and Executive Producer Craig Oppenheimer of Wonderful Machine.

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