Category: Pricing &amp; Negotiating

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: Portfolio content photography of an architecture and interior design firm’s recently completed restaurant & retail spaces within an airport
Licensing: Collateral and Publicity use of up to 15 images in perpetuity
Photographer: Architecture & Interiors specialist
Client: Large retail space architecture and interior design firm

Summary

I recently helped one of our NYC photographers build an estimate for a good-sized architecture and interior design firm. The firm requested an estimate for photography to document 4 of their soon-to-be-finished spaces within a NYC area airport terminal. The final use of the photography would primarily be web collateral within the firm’s website, publicity efforts, as well as submissions to a few notable design award competitions. When we first began speaking with the client, they let us know that the completion date was about 3 weeks out. Moreover, they informed us that the photographs needed to be taken at night because the restaurants and shops would be open the following day.

The client was very specific with their shot list needs. They would, however, rely on the photographer to accomplish this list in an artistic manner. They also let us know that they would need the final images within 2 days of the shoot date in order to meet their award submission dates. The client would arrange all special permissions for the photographer, crew, and equipment access to the spaces due to our need to work after the airport terminal had closed. We also knew that although our client designed these 4 spaces, they would all be owned and operated by other brands. With this in mind, we attempted to upsell and inquired whether the brands or proprietors might be interested in use of the final work. These potential clients, however, were not interested.

Here is the estimate:

By Andrew Souders, Wonderful Machine

I added a “Client Provisions” note to describe what the client was to provide. For this project, the client would provide locations, all location access and coordination, all location styling and cleaning, all employee/staff coordination, crew meals and craft services.

Fees

I put the Photographer’s fees at $6,500 for the shoot, and licensing of up to 15 images. We understand that the NYC market is very competitive and there are many other photographers in the area that could accomplish this job. The saturated market (unfortunately) put downward pressure on the photographer’s fees. We felt that $6,500 was a fair and competitive fee based on the metropolitan area, client, and the use of up to 15 images. The client offered a budget of “between $10,000-13,000” for the project. Based on the rush retouching fees needed we felt comfortable coming in roughly $1,100 above that.

Crew

We added a First Assistant/Digital Tech at $650/day to help with lighting and camera equipment management, and computer/file management while the photographer was shooting. These fees were consistent with the crew rates on the photographer’s past projects of this nature.

Equipment

We included $750 for camera, lighting, and grip rentals. The photographer brought their own cameras, lenses, and simple lighting. We added $450 for the digital tech workstation rental laptop, cables, etc.

Misc.

We included $240 for insurance coverage. We then added $250 for the anticipated taxis/car services to get to and from the airport, additional meals, and other miscellaneous expenses.

Post-Production

We added $500 for the photographer to perform an initial edit of all the content and delivery to the client. We also included rush retouching rates of $225/hr for an estimated 2 hours per image.

Results

The photographer was awarded the project and the shoot was a success. During the shoot, there were quite a few issues as several of the locations were not totally finished. In order to accomplish some of the wider images, the photographer needed to have their camera placed in a location not closed to the public. Due to this factor, a good amount of additional retouching was needed on the images, which was approved by the client.

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Pricing & Negotiating: Food/Drink Product Photography For A Holiday Campaign

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.

Concept: Product Photography for a Holiday Campaign in collaboration with a celebrity
Licensing: Publicity and Collateral use of 4 still photos and 1 animated GIF for 1 year
Photographer: Still Life/Product and Food/Drink specialist
Client: Sparkling beverage brand

Summary

I recently worked with a photographer to develop an estimate for a holiday-themed product photoshoot for a well-known beverage brand’s collaboration with a high-profile celebrity. The project involved creating still life images of a holiday table centerpiece featuring the client’s product alongside the celebrity’s co-branded food item. We considered the various creative needs, including product shots and lifestyle setups where hands would interact with the product.

The deliverables included up to four high-resolution still photos and one animated GIF intended for digital PR, social media, and the client’s website, with a one-year global license. The shots were primarily designed for web use, however, there was also the possibility of some print use.

Andrew Souders. Wonderful Machine

Fees

The client provided a shot list outlining key visuals and requested Publicity and Collateral licensing for one year of global use. The creative and licensing fee was set at $5,500 for producing the still images and animated GIF, which we felt was in line with the single shoot day and somewhat limited use. Additionally, we added a pre-production day to help with coordination, studio setup, and creative planning, at a cost of $750.

Crew

Though the project’s production requirements were relatively simple, we decided to include the photographer’s preferred assistant to ensure everything ran smoothly. This covered the assistant’s day rates for both the prep/set build day and the shoot day, with a rate of $500 per day, bringing the total to $1,000 for two days.

Styling

The creative brief emphasized the importance of some festive styling for the tablescape, which would serve as the backdrop for the products. The photographer took on the basic prop styling, and we included $250 for 5 hours of prop sourcing and $800 to purchase props and décor items. We also brought in a food stylist for two days to ensure the products looked their best on camera. The food stylist was responsible for sourcing supplemental ingredients and food items to complement the products, so we budgeted $2,000 for two days of prep and styling work.

Casting and Talent

The brief called for a hand model to interact with the products in several shots, so we budgeted $360 for the hand model’s session, which included a $300 half-day rate and a 20% agency fee. The model’s usage fee for one year of global publicity and collateral use was budgeted at $1,200.

Locations

The photographer had a local studio they worked with regularly, so we included one rental day for the set build and one for the shoot. The studio rental was budgeted at $500 per day, bringing the total to $1,000 for both days.

Equipment

While the photographer was able to provide most of the necessary gear, we included a supplemental budget of $750 for any extra equipment rentals and their kit of cameras, lenses, lighting, grip, and a workstation.

Meals

We allocated $300 to provide light meals for the crew on the shoot day, ensuring everyone had breakfast and lunch.

Miscellaneous

We included a $250 budget for miscellaneous expenses to cover any potential additional costs, such as parking and mileage.

Post-production

For post-production, we allocated $600 for retouching four images, with each image receiving up to one hour of work at $150 per image. Additionally, we allocated $500 for editing a 15-30-second animated GIF to complement the still images.

Results

The photographer was awarded the project, and the shoot is slated to commence before the holidays!

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Pricing & Negotiating: Leadership Headshots And Environmental Portraits For A Grocery Retailer

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Building Estimates service on the Consulting Services page of our website.

Concept: Executive Headshots and Environmental Portraits
Licensing: Perpetual Publicity and Collateral use of 7 images
Photographer: Portrait and Lifestyle Specialist
Client: National Grocery Store Chain

Summary

I recently collaborated with a photographer to develop an estimate for a corporate portraiture photoshoot for a US-based grocery retailer. The project’s goal was to capture the authenticity, approachability, and leadership of the company’s Chairman/CEO and President/Vice-CEO.

We planned for the shoot to take place in a single day at a store location in the Southwestern US. The client would plan to coordinate the schedule to minimize disruption to store operations and, at the same time, allow the photographer to accomplish everything they needed to.

Deliverables included 4 high-resolution headshots and 3 environmental portraits, all licensed for perpetual publicity and collateral use. They intended for these visuals to enhance the company’s marketing materials, reinforce its brand ethos, and connect with its customer base on a more personal level.

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Fees

The client’s brief outlined a need for Publicity and Collateral use for the imagery, which informed the pricing structure. We determined that perpetual usage rights were appropriate for this particular project.

Perpetual usage relates to the duration the client can use the images. Perpetual usage means the client can use the images indefinitely. But, the usage is still confined to the agreed-upon media (in this case, publicity and collateral).
Unlimited usage, on the other hand, implies no restrictions on the type of media placement, often making it broader usage for things like paid advertising.

Why Perpetual Usage?

Leadership portraits don’t stay relevant forever. Executives update their photos every few years, so setting a time limit on usage would likely expire after the images are already outdated.
It simplifies things for both the client and the photographer. No need to track expiration dates or negotiate renewals for images that won’t be used long-term anyway.
It encourages repeat business. Even with perpetual rights, occasional leadership changes (just in the age and look of the person, or who’s in the actual role itself) mean new photos will be needed. Making the process easy builds goodwill and increases the chance they’ll return to the same photographer.
The intended use is long-term but not commercial. Since these images are for PR and internal branding (not paid advertising), perpetual licensing makes sense — it’s a one-time cost for the client, with not much downside for the photographer.

The creative and licensing fee was set at $3,500, a rate reflecting the project’s somewhat smaller scope balanced with the longevity of the usage rights. We also included a tech/scout day, priced at $500, to allow the photographer to familiarize themselves with the location and refine logistical details.

Crew

We included a first assistant at $500/day, with an added 25% payroll fee, bringing the total to $625 for the shoot day. Given the shoot needs, the inclusion of the photographer’s trusted first assistant to handle equipment setup, lighting adjustments, and management of digital workflows was of great importance.

Styling

We allocated $875 for a men’s groomer/hair and makeup stylist to be present on shoot day. This role would also include light wardrobe adjustments, providing the professional polish necessary for high-quality headshots and portraits.

Equipment

We allocated a conservative budget of $250 to cover any supplemental equipment needs. The photographer owned most of the required equipment, but additional backdrops were necessary to achieve the desired aesthetic for the headshots.

Misc.

To cover incidental costs such as meals, parking, and mileage, we included a budget of $200. We noted these expenses were to be billed at cost to provide flexibility while maintaining transparency.

Post-Production

We budgeted $300 for the initial edit and client review, hosted on a web gallery. We allocated an additional $700 for retouching seven selected images, priced at $100 per image to include up to one hour of retouching work each. This process ensured each image met the client’s expectations and upheld the brand’s standards.

Results

The photographer was awarded the project, and the shoot was scheduled to take place within the following weeks!

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Pricing & Negotiating: Portraits And Still Life Images For Cosmetics Brand

Concept: Portraiture and Still Life Images for Cosmetics Brand
Licensing: Unlimited use of all images captured for one year
Photographer: Beauty and Still Life specialist
Client: Cosmetics brand

Summary

I recently worked with a photographer to help them develop an estimate for a campaign promoting a cosmetic brand’s new product. The brand wanted still life images as well as images of the product in use by professional talent in a studio setting. The creative brief called for a mix of minimal setups against a white background, along with a few scenarios that involved prop styling and set design.

Fees

The client initially presented a shot list that included eight main shots. One of the shots was identified as a key visual while the others were considered supplemental. Although they requested unlimited use of all images, they were willing to limit the duration to one year.

I felt the key visual was worth $5,000, images 2-3 were worth $2,500 each, and the others worth $1,000, totaling $15,000. I had wanted to include an additional few thousand dollars as a creative fee. We understood, however, that we might be pushing the limits on the fee as it was. Ultimately, my goal was to keep the bottom line in check and stay under $50k total.

The agency, surprisingly, asked us to include a licensing option specifically for 110% of the one-year rate to include a pre-negotiated rate for a second year. In most cases, when pre-negotiating a duration extension, I’m accustomed to a request for a reduced rate compared to the original fee. I clarified this request on a call with the agency art producer. Sure enough, they explained that they’d be willing to pay 110% for an additional year, so I included that cost for the licensing and for the talent.

In addition, the client requested we present a firm bid, rather than an estimate. I noted this at the top of the document. In this scenario, the photographer keeps any unused funds if the cost of the production is less than anticipated. This also means, however, that they would need to cover any overages if expenses were higher than anticipated. Overall, we were very confident in these fees/expenses based on the working relationships with the specific crew members, styling team, casting director, talent agents, and locations we anticipated working with.

Crew

Although the production was rather straightforward, we included a strong team to help quickly execute the vision. To that end, we added a producer, first assistant, second assistant, digital tech, and production assistant, all at rates appropriate for the specific market.

Styling

The creative brief definitively called for a prop stylist to create a few background elements and manage the products. The photographer already had a local stylist they wanted to work with. We included rates we received from them, which included their prep, shoot and wrap time. There was a need for very minor wardrobe styling, and this prop stylist was able to take on both roles. Separately, we detailed the anticipated prop and wardrobe costs, along with their kit fees and miscellaneous expenses potentially incurred in the process of acquiring all of the necessary items. We included a hair/makeup stylist and, as there were a few shots that involved close-ups of the talent’s hands holding the products, we also included a manicurist.

Casting and Talent

I included a rate received from a casting agent to help us find one subject based on the talent specs provided by the agency. The agency planned to pay the talent directly, but I discussed an appropriate talent fee with the agency producer. I noted this in the line item without having that line item impact our bottom line since the billings would go through the agency.

Locations

We included $2,500, which would allow us to afford a generously sized studio in this particular market.

Equipment

We included appropriate rates for the rentals the photographer would need in order to execute the creative vision. In addition, we also included fees for the digitech’s workstation as well as production supplies to make everyone comfortable on set.

Meals

I based this on $80 per person for 19 people, which included breakfast and lunch.

Misc.

I added $500 to cover any unforeseen expenses. We also noted a fee for insurance, which the agency specifically asked that we include. I often calculate insurance fees based on 1-2% of the bottom line.

Post-production

We just included a fee for the photographer to perform an initial edit of the photos and help make selects because the agency would handle retouching. As a separate fee, we included a line for hard drives, delivery, and archiving.

Results

The photographer won the project. Shortly after, however, the shoot was postponed, and then quickly brought back to life with an increased scope that included two talent. This increased the shot list in addition to production expenses. As a result, we increased the creative/licensing fees by 50%, added a producer pre-production day to handle the changes, increased wardrobe, added another manicurist, added a hair/makeup stylist assistant, and increased casting and talent. We also were asked to include some extra equipment to help facilitate remote viewing by a few clients who would be unable to attend the shoot in person. Here is the final estimate, which was approved:

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Pricing & Negotiating: Food Images For A High-Profile Cross-Promotion

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.

Concept: 1 day of Food/Drink, Still Life/Product Photography
Licensing: Perpetual Exclusive use of 10 images for two parties and Web Collateral use of 10 images for five years for a third party
Photographer: Food/Drink and Still Life specialist
Clients: Global Financial Services Brand and Restaurant Group

Summary

I recently helped an East Coast photographer create an estimate and negotiate a project for a prominent financial services company. The client was partnering with a well-known restaurant group on a cross-promotion. The client’s creative brief called for “carefully curated overhead and detail shots of plated food and drink, paired with the financial company’s branded items.”

The shoot was scheduled to take place on a single shoot day at the restaurant group’s test kitchen, conveniently located in the same city as the photographer. The original shot list included multiple food and drink setups, and the photographer planned to create two sets with different lighting styles, moving between them throughout the day. The client would provide the food, food styling, props, hair stylist, makeup, wardrobe, and wardrobe stylist.

The deliverables specified 10 final images. The client requested exclusive, perpetual, unlimited use of the images to promote their services across various platforms. The intended use included web ads, OOH placement in three East Coast cities, and large-scale wall ads in several airports. Additionally, the client wanted the company supplying the plates and glasses to be able to use the images on their social media for 5 years.

Fees

We allocated $23,500 for combined Creative/Licensing Fees. Based on the scope of work and the client’s intended use, we felt that a $2,500 Creative Fee and $21,000 for licensing the 10 images was appropriate, though likely at the higher end of the client’s expectations. We also offered the option to license additional images for $2,500 each, including up to two hours of retouching.

For the five-year web collateral license for the plate and glassware company, we budgeted $1,750 for the 10 images. We knew that charging $175 per image was pretty low, but the photographer wanted to extend this courtesy to the client. It was important for the photographer to impress the tableware company and work to build a good relationship for the future. Additionally, the photographer did not charge separately for their tech scout day and simply bundled it into their Creative Fee.

Crew

We included a first assistant at $650/day and a Digitech at $900/day. These rates were consistent with rates in this city and aligned with what the photographer had previously paid their crew.

Equipment

We allocated $2,200 for camera, lenses, lighting, and grip rentals. The photographer planned to use their own cameras, lenses, and lights while renting additional specialty modifiers, grip equipment, and a few surfaces they had in mind for the project. We also included $700 for the Digitech workstation and $320 for a couple of hard drives.

Misc

Although there are times when we bill separately for liability and worker’s comp insurance, in this instance, we chose to bundle that cost into the Creative/Licensing fees (though we kept the line item to show the client that coverage was being provided).

Post-Production

We budgeted $500 for the photographer to perform a first-round edit with basic color & contrast curves and $3,000 for retouching the 10 images, including up to 2 hours per image. The photographer would handle the retouching themselves.

Results

We heard back from the client the same day, saying that the estimate was accepted and they wanted to move forward. We scheduled a creative call for the following day. During the call, the client requested an updated estimate for 16 final images. While the shot list remained the same, they wanted a few additional images from some of the scenes. We knew the “hero” images hadn’t changed — they simply wanted more variations and angles from each scene to use as support imagery. We took this into account and submitted a revised estimate. The only adjustments we made were to the Fees and Post-Production sections, outlined below.

Fees

We allocated $32,000 for combined Creative/Licensing Fees, considering that these were not new scenes but additional support images around the hero shots. The increase of $8,500 for the six additional images felt fair to both me and the photographer. We also updated the five-year web collateral license for the plate and glassware company to include the six extra images at the previously established per-image rate.

Post-Production

We updated the retouching fees to $4,800 to cover the six additional images.

Update

The client reached out to let us know they still wanted to move forward, but the new total exceeded their project budget. They requested that we bring it closer to $35,000. They also wanted us to reduce the third-party plates and glassware company’s use to two years and limit it to five images. Since the adjustments would only involve the fees, I suggested to the client that we could reduce the costs if we could lower the use duration to three years and remove the exclusivity. The client didn’t confirm whether this was possible but asked to see an updated estimate. This third estimate included adjustments to the licensing description, Licensing Options, and Fees sections, while all other line items remained unchanged.

By Craig Oppenheimer, Wonderful Machine

Fees

We allocated $23,500 for combined Creative/Licensing Fees, which would cover unlimited use of up to 16 images for three years, and removed the previous exclusivity provision. We updated the web collateral license for the plate and glassware company to $625 to cover two years and up to five images.

Results

The client accepted the estimate, and the project took place a few days later. The photographer called me that night, saying, “It was awesome, man. Everyone was great and appreciative.” After the shoot, the client expressed their gratitude, saying, “Thank you for an incredibly fun partnership on the shoot earlier this week. It was a pleasure to collaborate with you and the team as we begin to bring this experience to life!”

Shortly after, the client submitted an image order nearly three times larger than what was included in the original estimate. We reminded them that the additional fees would be $1,600 per image, as outlined in the estimate. In response, the client reduced their order to 16 images. Although this was a bit disappointing for the photographer, they were still very pleased with the outcome. The final retouched images turned out beautifully and the client launched their campaign in December 2024 ahead of holiday season travel.

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Pricing & Negotiating: Business Owner Portraits For A Beverage Brand

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.

Concept: Portraits of business owners, and images of them interacting with products at a manufacturing facility
Licensing: Unlimited use of up to 30 images for five years from first use
Photographer: Portraiture specialist
Client: Beverage brand

Summary

I recently helped a portrait photographer create an estimate and negotiate a project for a beverage brand. The client was launching a new product within a larger portfolio of beverage companies and wanted to capture portraits of business owners interacting with their products at a manufacturing facility. The images would help tell the story of the product’s origins and the people behind it.

The shoot took place over a single day and focused on five main setups with variations on the same themes. The photographer and crew worked to capture 30 final images. Although the client initially requested unlimited use across all media, based on the creative brief and our discussions, the images were primarily intended for use on their website and social media. While they were not willing to restrict media use, we did convince them to limit the duration of use to five years.

Fees

Traditionally, photographers in this market have undervalued usage, and local clients, such as this one, were accustomed to more conservative rates compared to other major markets. I priced each of the five main setups at $1,500, totaling $7,500, and added a creative fee of $2,500, bringing the total fee to $10,000.

Crew

We kept the crew lean, including a first assistant for both the scout and shoot days and a Digitech for the shoot day, all at rates appropriate for this market.

Styling

After a call with the agency, they asked that we include light prop styling in our bid, with a dictated prop budget of $750. We factored in a prop stylist for both prep and return time, in addition to the shoot day, and detailed the prop budget as instructed, while noting that the final amount would depend on the creative direction. We also added a hair and makeup stylist and noted in the “client provisions” section at the top of the estimate that the client would be handling their own wardrobe.

Equipment

We allocated $1,000 for the rental of the photographer’s own gear as part of the production.

Misc.

We allocated $750 to cover mileage, parking, meals, and any other unforeseen expenses on the shoot day.

Post-Production

We allocated a few hundred dollars for the photographer’s time to create a web gallery for the client and set a rate of $100 per image for retouching, allowing up to one hour per image for each of the 30 images they would select.

Feedback

The estimate was received well, but they asked if we’d be willing to reconsider the time limitation and grant perpetual usage. I suggested that we at least double the photographer’s fee, but we ultimately included an extra $5,000, bringing the total creative/licensing fee to $15,000. While I would have preferred a higher fee, I think the shelf life of these images would likely have been around three years.

Results

The photographer was awarded the project.

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Pricing & Negotiating: Brand Narrative, Lifestyle, And Product Photography For A Large Clothing Brand

Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.

Concept: Photos of Olympic-hopeful athletes modeling the client’s clothes at a university sports facility.
Licensing: Unlimited use (excluding Broadcast) of up to 10 images for 6 months, and Web Collateral & Web Advertising use of up to 65 images for 6 months.
Photographer: Brand Narrative, Lifestyle, and Sports/Fitness Specialist
Client: Large clothing brand with over 200 retail locations.

Summary

I recently helped a photographer build an estimate and negotiate a project for a client developing a campaign tied to the 2024 Olympics. Ultimately, the photographer nailed the creative, and the client licensed additional images.

The project involved a single-day photo shoot at a university athletic facility in a major US city. The shoot centered on four athletes, each modeling and using the client’s athletic products within their respective sports disciplines. This shoot was conducted simultaneously with video production, each team having separate creative objectives and crews.

The initial deliverables included a series of images that captured the athletes using the brand’s apparel. Most of the photos were intended primarily for use on the client’s website and social media feeds, with some images for print and web advertising, in-store displays, and potential OOH advertising.

The client was responsible for providing all production support, products, styling, locations, coordination, talent, and talent management. They also handled all insurance, payroll, and image retouching.

Fees

It’s worth noting that this RFQ came to the photographer less than a week before the anticipated shoot date. We learned that the client had been working with another photographer, but they were not moving forward and needed a replacement quickly. The photographer and I were on the same page that their availability and attention to the last-minute project would put upward pressure on the fees.

Considering the client, creative brief, shot list, the photographer’s past work with this client, and the intended uses, I estimated $19,750 would be on the higher end of what the client might expect for a one-day shoot. However, we felt the total fees were fair, especially considering the cost breakdown: $1,000 per image for the 6-month unlimited use and $150 per image for web collateral and web advertising. We made sure the client understood the per-image pricing during the bidding process, which helped later on when additional licensing requests came up (jump to the bottom to see the final invoice).

Also, we added one pre-production day at $1,000 to cover creative meetings, planning, and crew booking. We added a tech scout at $1,200, along with $750 for a single travel day home, since the first travel day overlapped with the tech scout.

Crew

We included a First Assistant at $1,000/day for the Tech Scout and Shoot days, along with a Second Assistant to manage lighting and camera equipment on the shoot day. The client asked us to exclude a Digital Tech in the estimate, which seemed a bit unusual given the scale of the shoot, but the photographer was okay with it. The client also requested two Production Assistant swings (crew that would work for both the photography and video productions) for the shoot day to help streamline the still and video shoots and save money. Initially, I pushed back on including shared crew, concerned it would inflate the stills estimate with unnecessary items for the photographer and lower the video estimate, which we couldn’t control. However, the client insisted on including these line items while noting our concerns about inflating the bottom line.

Equipment

We included $3,000 for cameras, lenses, lighting, and grip rentals. While the photographer planned to use their own cameras and lenses, they intended to rent lighting, C-stands, sandbags, and other gear from a local rental house. We also added $450 per day for the photographer’s personal digital workstation, which includes their laptop and other peripherals. Lastly, we allocated $320 for three hard drives, one of which the client would keep.

Travel

The client would book and pay for the airfare and lodging directly. We included the photographer’s out-of-pocket travel costs such as baggage fees, airport transfers, and per diems.

Miscellaneous

The client asked us to exclude insurance since they would take care of it. Having encountered this with them on previous projects, we included a note clarifying that they would provide insurance for the production to eliminate any ambiguity.

Post-Production

We added $500 for the photographer to do a First Edit for Client Review, delivered as a web gallery. We also included estimated costs for the photographer to handle light cleanup and color work on the 75 requested images at $150/hour. The client had initially requested that they would handle all retouching themselves internally.

Results

The photographer was awarded the project the same day the estimate was delivered! The shoot was a huge success, with perfect weather, awesome talent, and a thrilled client. It was a great day filled with lots of smiles.

Additional Licensing

After reviewing the photography, the client loved the work and requested an additional 37 images. They wanted 15 images for web collateral and web advertising use, and another 22 for the retailer’s catalog and web advertising. The client also requested that the photographer do some light retouching on the images. We invoiced an extra $2,250 for 6 months of use for the 15 web collateral and web advertising images ($150 per image), and $4,950 for 6 months of use for the 22 collateral (including client catalog) and web advertising images, at a rate of $225 an image.

The final invoice included a Creative/Licensing fee of $26,950, plus an additional $5,587.50 for the post-processing/light retouching.

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Pricing & Negotiating: Brand Narrative And Interiors Photography For A Medical Client

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 Provisionssection within the Job Description to note who would be handling these items.

Here is the estimate:

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. It should be noted that this fee was significantly higher than other Architecture/Interiors projects the photographer had worked on (albeit those licenses were mostly only for Collateral and Publicity use), and the photographer was initially apprehensive about the fees total, based on the rates of their competition.

Our estimate included a line stating the cost of additional images to be $1,250/each (including up to one hour of retouching). This additional image fee was purposely created to be significantly higher than the other images. I also added $750 for the photographer to scout the location in advance of the shoot.

Crew

We added a First Assistant at $600/day for both the tech scout and shoot day. Then we added a Second Assistant on the shoot day for an additional hand with lighting and camera equipment management to help to expedite the day. In addition, we included a Digital Tech at $750/day. These fees were consistent with previous rates the photographer had paid their crew on past productions in this city.

Equipment

We included $1,400 for cameras, lighting, and grip rentals. This would all go to the photographer as they anticipated bringing their own cameras, lenses, and basic lighting kit. Another $650/day was then added for the digital workstation rental. Finally, we also included a line for hard drives at $0 to be included with the production. We have found it always helpful to note items to be included, even if $0, to let the client know the photographer is considering all needs, and in this case the need to back up the images on site.

Misc

For insurance, we included $450, and we added $325 to cover taxis, additional meals, and any unforeseen expenses.

Post-Production

The photographer would perform a First Edit for Client Review and deliver roughs to the client for $500. We also included a retouching fee for the 35 images at $100/hr. The photographer would be doing the retouching themselves, and this hourly rate is consistent with their previous projects.

Results

The photographer was awarded the project. The client loved the work and returned about a month later to license an additional image at $1,250. The final images are gorgeous, and are currently in use on both the client’s web/social pages and the photographer’s portfolio!

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Pricing & Negotiating: Brand Narrative And Interiors Photography For A Medical Client

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.

Here is the estimate:

Fees

Crew

Equipment

Misc

For insurance, we included $450, and we added $325 to cover taxis, additional meals, and any unforeseen expenses.

Post-Production

Results

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Pricing & Negotiating: Brand Narrative And Product Photography For A Consumer Health Client

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.

Here is the estimate:

Fees

The client didn’t have a prescribed shot list per se, but they did have an idea of the multiple scenarios they wanted to capture. The photographer/director and I sketched out an anticipated schedule for the talent and time needed for each scene. We anticipated 2 shoot days with the 4 talent on each day. Based on the agency, client, and how they intended content use, I suggested the fees should be in the range of $22-30k. The agency did not disclose a budget, but I felt that they might have a $110,000-120,000 project budget range and we placed the fees at $28,000 for the 2 day shoot.

I added $1,000/day for the photographer to tech scout the location in advance of the shoot and 4 pre-pro days needed.

Crew

We added a videographer at $1,500 per shoot day. We also added a first assistant at $550/day, including the tech scout. A second assistant on the shoot days to help with lighting and camera equipment management was also added. We included a digital tech/media manager at $700/day. We included a producer for 8 days to help with the crew booking needs, schedule coordination, on-site time management, and catering. These fees were consistent with previous rates the photographer had paid crew on past productions in this location.

Equipment

We included $3,800 for cameras, lighting, and grip rentals. The photographer would bring their own cameras, lenses, and would rent continuous lighting, modifiers, stands, and sandbags from a local rental house. We added $650/day for the digital workstation rental. Then, $700 was also added for hard drives to back up the content. We included $2,200 for any miscellaneous production supplies such as production book printing, tables and chairs for meals, equipment transport, hard drive shipping, etc.

Locations

The photographer/director had a local warehouse/studio in mind for the project. The studio already had some sets built that we could easily transform to suit our creative needs. We included the quoted $800/day for the studio for 4 days to cover the build days/pre-light, and 2 shoot days. A studio location manager and cleaning fees were also needed for the location, and we noted these lines separately for agency information.

Casting & Talent

We included $2,500 to cast the 4 talent, $3,360 for talent use fees, and 8 daily session fees at $600/day per talent. These fees were quoted by a casting director in that region.

Styling Crew

We Included a wardrobe stylist and assistant for 5 days each, plus an estimated $3,500 for wardrobe costs. A combo hair/makeup stylist and assistant was necessary and included. Last, we also included a prop stylist and assistant for 5 days each, plus $4,500 for anticipated prop costs.

Meals

We included $3,250 to cover meals and Craft Services for the anticipated folks on set.

Misc.

We included $1,400 for insurance to supplement the photographer’s liability and Workers’ Comp policies.

Post-Production

We added $1,000 for the photographer/director to perform a First Edit for Client Review and deliver all content to the agency on a hard drive.

Initial Results

We heard back from the agency about 2 weeks later that their client wanted to move ahead with the project but had a budget of roughly $95,000. The request was “Can you make this work for $95k? What do we need to sacrifice in order to reduce the estimate to $95k?”

I suggested that we could reduce the creative and talent fees if we reduced the duration of use to 2 years. The agency was receptive to this and asked to see those costs in an updated estimate. The agency also was kind enough to reduce their on-set headcount.

Revised Estimate

Fees

With the new use duration in mind, I suggested the fees should be in the range of $16-18k. The photographer agreed to place the fees at $16,000 for the 2 year use. Our estimate included a Licensing Options line stating the cost of extending the use to 4 years for an additional $12,000 + $1,800 per each talent. If you’re following the math, this would bring the photog’s fees to the same amount as the 4 year license estimate and increase the talent use fees a little bit.

Meals

We included $2,730 to cover meals and Craft Services for the updated headcount on set.

Everything else stayed the same on the revised estimate.

By Craig Oppenheimer, Wonderful Machine

Results

The photographer/director was awarded the project, and the production was a big success. The photographer/director was very thankful for the help and just sent me a link to view their edit of the project. I’m always very appreciative when I get to see the final work that a photographer is proud of!

If you have any questions, or if you need help estimating or producing a project, please reach out. We’re available to help with any and all pricing and negotiating needs— from small stock sales to large ad campaigns.

Pricing & Negotiating: Lifestyle Images For An Athletic Brand

Concept: Images of athletes wearing branded apparel playing a sport
Licensing: Unlimited use of up to 16 images in perpetuity
Photographer: Portraiture specialist
Client: Athletic brand

Summary

I recently helped a photographer build an estimate for an athletic brand. From the start, we knew there was a discrepancy between the client’s requested use and their intended use. They asked for unlimited use of 16 images in perpetuity. However, based on the concept and creative brief, it was very clear that the campaign had a shelf life of one year.

Fees

The photographer had an excellent working relationship with this client. We took this into consideration and decided to price their fee more in line with the value of their intended usage duration despite granting them their requested perpetual duration. I initially based the fee on $750/image for 16 images and added $3,000 as a creative fee for the photographer which totaled $15,000. We knew, based on our previous experiences with the client, that this number would be generally palatable.

Crew

We included an appropriate number of helping hands for the photographer in the budget. We would need a producer, who would travel in for the production, two production assistants, a digital tech, and two assistants, who were all hired at rates appropriate for this market. The multiple days for the first assistant and production assistants would cover their pre-production time leading up to the shoot day.

Styling

For this production, we’d be creating an athletic scenario with professional talent. In order to pull this off, we’d need a dream team of stylists to make everyone and everything look awesome. We included a hair/makeup stylist with their assistant for the shoot day to cover five talent. We also budgeted for appropriate shopping, shooting and wrap time for a wardrobe stylist along with their assistant. In total, we anticipated $2,500 in wardrobe to outfit all five subjects. Although we’d primarily be working with the materials at the location, we included a prop stylist to source supplemental items to enhance what we would find on site. We included a $1,500 budget for those items. We also included miscellaneous expenses to cover kit fees, mileage, and extra items related to sourcing the wardrobe and props.

Casting and Talent

In order to find the appropriate talent for the production we knew we would work with a local casting agent. We included their anticipated fee to coordinate both video and still submissions of professional talent, based on specific demographics provided by the client, who also happened to be athletes. The talent session fees were separated from their usage fees, and included appropriate rates for the market as discussed with our casting director.

We capped the usage for the talent at 3 years for two reasons. First, it was necessary to keep the budget in check. Second, many talent agents won’t accept perpetual usage terms. It’s not uncommon for there to be a difference between the usage granted by the photographer, and the more limited usage being granted for the talent in an effort to keep the bottom line reasonable. Oftentimes, however, this detail requires some explanation to clients who don’t understand the nuances of the photography industry.

Locations

We included five days for our location scout to help find the perfect spot. Our location scout would join us on both the tech/scout day and shoot day, where they would manage the relationship between our production and the property owners. This fee was initially appropriate to find an athletic facility that supported the creative brief.

Equipment

We included expenses for cameras, grip, and lighting, as well as a digital tech workstation and production supplies, such as coolers, tents, tables, walkies, etc., based on the going rates from a local equipment company.

Vehicles

While it was possible that the location might have a staging area, we didn’t want to risk it, so we included an RV to ensure we had air conditioning and a private styling area. We also included a van rental to help with picking up and returning equipment and/or personnel.

Meals

I based this on $75 per person.

Miscellaneous

We included a few thousand dollars to cover any unforeseen expenses that might arise, and to account for the insurance coverage the photographer would be providing.

Post Production

We included $500 for the photographer to do an initial rough edit for the client to review and then included $450/image for 16 images for the retouching.

Feedback

After reviewing our estimate, the client told us that they needed to get the bottom line closer to $100k, and we jumped on a call to discuss concessions they’d be willing to make in order to lower the bottom line. I learned they could lower the talent count from five to four, they’d be willing to provide just about all of the wardrobe, they could reduce the image count from 16 to 14, and they’d be willing to limit the usage duration (for both the images and talent) to one year instead of perpetual use.

However, we also found out that the client had one particular location in mind, which happened to come with a significant fee and would require some overtime for the crew to drive there and back in a single day. We made the appropriate revisions based on those notes, while tightening the screws on other items as well to get as close to $100k as we could, and submitted this estimate:

By Andrew Souders, Wonderful Machine

Results

The photographer was awarded the project.

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Pricing & Negotiating: Event Photos For A Luxury Fashion Brand

Each month, we pick a recent estimate 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: One-day stills shoot documenting a high-profile fashion event.
Licensing: Publicity and Collateral use of up to 50 images for 2 years.
Photographer: Documentary and Portraiture Specialist.
Client: High-End European Fashion Brand.

Summary

I recently helped a photographer build an estimate for a well-known European luxury fashion client. The creative brief entailed covering the brand’s event at a location in the southwestern U.S. The images needed to showcase the brand’s products and apparel in a runway show as well as other participants and guests in attendance. The intended use of the images would be primarily for internal Collateral needs, but also Publicity use, servicing the publications covering the event — including print and digital stories in a handful of editorial fashion/lifestyle publications, with a usage duration of 2 years.

We were informed by our client contact that airfare/transportation would be arranged for the photographer, but that we should budget for travel and scout day fees in the estimate. In addition, we were asked to provide up to 50 selects from the event, along with a request for rush delivery of up to 20 images on the same day of the shoot, with the remainder being finalized and delivered the following week.

We included a note that the client must handle airfare, car rental/local transportation, locations, and location coordination. Additionally, the client was responsible for providing the subjects to be photographed and any necessary subject/talent coordination, hair/makeup/wardrobe styling, meals, and any photo releases.

Fees

Typical corporate event coverage might go for around $2,500/day. But, given the prominence of the event and the client, we expected a higher level of expectation placed on the photographer and the photos would likely see wider use. Because of this, I placed the fee at $4,000 and felt this was a reasonable ask even for the narrow use.

Anticipating the need for brief air travel, we budgeted the estimate to include 2 travel days at $500 each. We might normally see a client anticipate a combined travel/scout day here, but in this scenario, they requested a dedicated tech/scout day at the venue so I included an additional $500 for it.

Crew

Since the event photography needs were relatively straightforward and wouldn’t require much in the way of lighting or other equipment management, the photographer was fine with excluding the need for any crew in this scenario.

Equipment

We included a $350 expense for the photographer to travel with his kit of cameras, lenses, and a digital workstation, knowing that he wanted to remain light and mobile during the event without the need to haul around too much equipment. We also included a TBD line item for the purchase of any hard drives/file storage anticipating the possibility of handing over a drive of selects to the client at the end of the shoot day.

Travel

The client informed us that they would cover the photographer’s airfare, baggage fees, and any necessary ground transportation for the trip to the venue. Beyond that, we chose to include $1,050 for 3 lodging stays near the venue, taking into consideration slightly higher rates during this time of year at the shoot location.

Miscellaneous

We decided to absorb the insurance costs for the shoot but included $150 for miscellaneous needs like expendables and supplies, or any parking, tolls, etc.

Post-Production

We included a first edit to allow the client to review and make selects from, bundling in a rush delivery fee for up to 20 same-day selects for $500. Additionally, we added $1,000 for the photographer to provide color correction and basic file cleanup for the images, as well as delivery of the remainder of the selects after the photographer returned home.

Results

The photographer was awarded the project, and reported back later to let us know that the shoot went great!

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Pricing & Negotiating: Product Photos/Video For Hair Care Brand

Concept: Stylized Still Life photography and videography, as well as images of the product being used.
Licensing: 2 years of E-Commerce and Web Collateral of all content captured.
Photographer: Product specialist.
Agency: Medium-sized US-based agency.
Client: Specialized hair care product manufacturing client.

Summary

I recently helped a Photographer/Director build an estimate, along with navigating and negotiating a project with a marketing/advertising agency seeking stills and video for a campaign they were creating for their specialized hair care product client.

The creative brief from the agency described the still-life content of a new product. They wanted the images/video to feature the product being used on set. The idea for the settings consisted of colorful and minimalistic bathroom and bedroom mirrors. The content needed to feature talent applying the product to their hair. The final use of the content was described as web and social placements, as well as “eComm” use on the client’s and select retailer’s websites.

Our creative calls with the agency left us feeling like this project was not yet greenlit by the client. This was because they had so few details to share. Instead of quoting on an actual project, it seemed as though the agency was asking us for a quote which they would then present to their client as they were proposing the work to be created.

I was clear with the photographer that I have seen cases like this become a game of revisions and sometimes “how low can we get the costs while still maintaining the creative needs.” The Photographer/Director was on board and we put our heads together to formulate a production plan. It included 1 pre-light day, 2 shoot days, the needed crew, and production support. We submitted our 1^st estimate based on the initial ask.

Fees

Based on the client, agency creative description, and shot list of 6 setups we intended to use, I felt that $14,000 would be in the mid-to-high range of what the client might be expecting to see. Depending on the brand, I have seen similar use license projects range between $4,000 and $14,000/day for all content captured. Because this shoot was for a single, limited audience product, $7,000/day was appropriate here, given the market and the client’s desire to work with this particular Photographer/Director. I added 4 pre-pro days at $1,000 each for the Director/Photographer for client and crew creative meetings, creative planning, as well as a pre-light day.

Crew

We added a DP/Camera Op at $2,000/day to run video capture while the photography was happening. We added 2 pre-pro days for the DP/Camera Op at $750/day. First and Second Assistants were included to help with lighting and camera equipment management. They would be needed on the pre-light day as well. We added a Digital Tech/Media Manager at $800/day to manage and display the content as it was being created. We added a Producer at $1,000/day, and a Production Assistant at $350/day. These fees were consistent with previous rates the Director/Photographer had paid their team on past productions in this city.

Equipment

We included $5,200 for cameras, lighting, and grip rentals. The Director/Photographer would bring their own still and video cameras, lenses, and lighting. They also intended to rent some supplemental continuous lighting, c-stands, and sandbags from a local rental house. $750/day was added for the Digital Tech’s workstation rental. We also included $850 for 3 large hard drives and $1,800 for TBD needed production supplies. This included production book printing, table/chair rental, heaters, wardrobe steamers, racks, etc.

Casting & Talent

We added usage fees and 2 daily session fees for two talent. Based on the limited info, but our assumed talent specs, we felt confident in a rate of $2,200 plus a 20% agency fee. We added $2,000 as a fee to cast the two talent. We also added 23% for talent payroll needs within the bottom line.

Styling Crew

We added a combo Hair/Makeup Stylist at $950/day. For our anticipated wardrobe styling needs we added a Wardrobe Stylist at $1,100/day, and an assistant for $500/day. We added $1,600 for the assumed 2 unique outfits per talent and marked this as TBD pending final creative direction. We added a Nail Stylist for both shoot days at $1,200/day. Based on our understanding of the set design and prop needs, we added a Prop Stylist at $1,200/day, as well as an assistant at $500/day. Props & Materials was estimated at $8,500 and marked with a TBD pending final creative needs.

Location/Studio

We included 3 days at a rented studio at $1,800/day.

Meals

We included $70/day per person for meals and craft services. Additionally, we added $500 for meals/craft services on the pre-light day.

Misc.

We included $1,800 for insurance and $1,600 for additional meals, expendables, and miscellaneous expenses.

Post Production

We added $750 for the Director/Photographer to perform a First Edit for Client Review and costs for retouching an estimated 30 images at $125/hour.

Providing a Second Estimate

The client stated that the estimate and treatment were received and that they would like to see a 2^nd estimate without production support and with the agency handling all talent and styling. We submitted a revised estimate the same day and then heard that they would circle back after reviewing it with their client. This estimating process then became quite involved as the agency team presented the project to the client and came back to us multiple times for revisions. Together we ended up creating 8 estimates for the project over 6 weeks. While a client requesting multiple estimate revisions is not unique, what made this process arduous was each new estimate requested was to be based on revised shot lists or agency-suggested ways to slim the bottom line. Our requests for budget parameters were never answered.

An Overview of Estimates

While it would be quite complicated to include each of the multiple estimates within this article, below is a high-level overview of each to demonstrate the project scope and cost changes:

1^st estimate above.

2^nd estimate — Client requested: No production support, talent and all styling would be handled by the agency. Our estimate was the above with the noted items removed and came out to $50,550.

Five weeks later, a 3^rd estimate was requested — Client requested: All production, 2 talent over 2 shoot days, all styling, adjusted shot list with retouching for 26 images. Our estimate was $111,870.00.

One day after the 3^rd estimate, we were asked for a 4^th estimate — Client requested: All included within 3^rdestimate, but no DP, no producer, the agency handling all art & props. This estimate was $75,270.

Two days later, 2 additional estimates were requested:

5^th estimate — Client requested: A 1-day shoot with no talent, no DP, no producer, agency handling art & props, a VERY revised shot list, and only 3 final images retouched. This estimate was $20,640.

6^th estimate — Client requested: A 2-day shoot with 2 talent on only 1 day, no DP, no producer, agency handling art & props, 12 images retouched. This estimate was $56,750.

The 7^th estimate request came three days later — Client requested: Increased shot list, 2 unidentifiable hand model talent, 1 pre-light, 2-day shoot, no DP, no producer, agency handling all art & props, and 30 images retouched. This estimate was $66,450.

The Final Estimate

The 8^th estimate (final) was sent the following day — Another revised shot list, 2 unidentifiable hand model talent, 1 pre-light day, 1-day shoot, no DP, no producer, agency handling all hair/makeup/props styling, and any video editing, 4 images retouched. In this instance, the agency did let us know that the project needed to be completed by a specific date that was about 2 weeks out. I let the agency know that to hit that date we would need approval and advance payment within 3 days and in order to expedite the process I requested a budget (again).

The agency let me know that they had $40k approved. We submitted an estimate of $40,658.40. While our estimate was a little above the agency-stated budget, our gut told us they would approve the costs since the estimate contained exactly what they requested and the pressure of a short window until the work was needed in hand.

Fees

Based on the work to be created and the noted project budget, $8,500 was an appropriate fee. I added 5 pre-pro days at $1,000 each for the Director/Photographer. This was not only to manage client and crew creative meetings and planning but to source and book all crew and studio needs, as well as their pre-light day fee.

Crew

We included First and Second Assistants for the pre-light days and a Digital Tech/Media Manager at $800/day. We added a Production Assistant at $350/day to help the Director/Photographer with bookings, equipment prep, shoot day catering/craft services, trash, and logistics.

Equipment

We included $3,100 for cameras, lighting, and grip rentals. The Director/Photographer would bring their own still and video cameras, lenses, and lighting. They also intended to rent some supplemental continuous lighting, stands, and sandbags from a local rental house. Moreover, $750/day was added for the Digital Tech’s workstation rental. Additionally, we included $850 for 3 large hard drives and $800 for TBD needed production supplies such as production book printing, table/chair rental, heaters, wardrobe steamers, racks, etc.

Casting & Talent

We added usage fees at $1,200 and $500 1-day session fees. Plus 20% agency fees for 2 non-recognizable hand model talent. Additionally, $1,500 was set as a fee to cast the two talent. The Director/Photographer and Production Assistant would do the casting. We added talent payroll fees within the bottom line at 23% of the total talent fees.

Styling Crew

The agency/client was to provide all hair/makeup/wardrobe styling. However, it was requested that we source and hire a Prop Assistant to aid them. So we quoted this at $500/day. We included $250 per talent as a stipend to get manicures prior to the shoot. Because there were so many estimates created, we made sure to clearly note the Styling Crew lines as “Agency Provided.”

Location/Studio

We included 2 days at a rented studio at $3,600/day and noted that this would include the anticipated cyclorama painting and cleaning fees.

Meals

We included $70/day per person for meals and craft services, as well as $200 for meals/craft services on the pre-light day. Moreover, our client/agency headcount increased by 1 person as well.

Misc.

We included $1,100 for insurance and $1,200 for additional meals, expendables, and miscellaneous expenses.

Post Production

We added $500 for the Director/Photographer to perform a First Edit for Client Review and costs for retouching up to 4 images at $125/hour.

Results

The Photographer/Director was awarded the project and the shoot was a success! The client was on set and loved the work being created. As we all can imagine, the on-set creative requests from the client kept coming on the shoot day. The Photographer/Director called me during the shoot and mentioned that, due to the client’s additional requests (and delays), they were anticipating 2 hours of overtime for the crew and studio. I worked to get these costs approved by the agency during the shoot and we included the overages in the balance invoice. After reviewing the content, the client loved the work and contracted the photographer to retouch an additional 21 images for $3,150 (1 hour per image x $150/hr).

Expanding & Extending Usage

About 2 weeks after final image delivery the agency reached out for costs to expand the 2-year use of the content. They requested usage for in-store POP and web/print advertising purposes (we called this Unlimited use excluding Broadcast), as well as cost estimates for both extending the previous eComm and Web Collateral use and the new request of Unlimited use excluding Broadcast in perpetuity. These new uses would entail new fees and agreements with our 2 talent. We negotiated fees with the talent agents and submitted the below cost estimates to the agency:

eComm and Web Collateral use in perpetuity. Additional fees:
$8,500 licensing fee
$2,880 Talent 1 use fee ($2,400 +20%)
$2,880 Talent 2 use fee ($2,400 +20%)

Unlimited use in perpetuity. Additional fees:
$14,000 licensing fee
$5,760 Talent 1 use fee ($4,800 +20%)
$5,760 Talent 2 use fee ($4,800 +20%)

Note

In our experience, it is tough to get talent agencies to agree to perpetual use. Especially for Unlimited perpetual use without a very high rate. Agencies do this to protect their clients from a company using their likeness years in the future when that client might be very recognizable if they become the next Cameron Diaz etc. Agents also limit the use duration often. This occurs for fear that their clients might not get booked for projects with competitor brands. In this case, neither of those scenarios was a factor since the talent was hand/hair models without recognizable faces.

With my advice, the Director/Photographer agreed to present a lower Unlimited use rate for themselves with the goal of selling that through to the client over the limited use in perpetuity. As of the writing of this article we have yet to hear back from the client/agency on their decision to expand or extend the use.

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Pricing & Negotiating: Brand Narrative For Medical Equipment Client

Concept: Brand Narrative & Architecture/Interior content of a Medical Equipment Manufacturer’s research, production, and treatment facility, featuring staff technicians, doctors, and patients.
Licensing: Exclusive Unlimited use in perpetuity of up to 30 images and up to 5 minutes of video.
Photographer/Director: Healthcare, Architecture, and Brand Narrative specialist.
Agency: None – client direct.
Client: Medical Equipment Manufacturing brand.

Summary

I recently helped a photographer/director build an estimate and negotiate a project for a client seeking brand narrative content of their doctors, technicians, and patients within their research, manufacturing, and treatment facility. Usually, this photographer/director creates their estimates on their own. However, they were busy with a multi-day project and reached out for help with the estimate and client conversations.

The client brief described the lifestyle content of their staff performing procedures within their modern research and treatment centers, as well as atmospheric interiors, and aerial content of the location exteriors and campus.

The final use of the images was described as client web and social placements as well as advertising within both consumer and trade publications. The client requested Exclusive Unlimited use of the final content. This all-encompassing license is something we see often with large corporations and their legal teams.

The shoot would be held at a client location about a three-and-a-half-hour drive from the photographer’s home. While there was a rough shot list presented, we suggested an advance location/tech scout to help flesh out the shot list with the client.

The client had let us know that they would be handling all location coordination, location styling, employee/staff talent, talent coordination, wardrobe/hair/makeup styling, and video editing. We then included a Client Provisions section within the Job Description to note who would handle these items.