Category: Pricing & Negotiating

By Marianne Lee, Wonderful Machine

Each month, we analyze a recent cost estimate, contract, or purchase order and present it in the form of a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to 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.

Job Description: 7-day food and lifestyle shoot on a cruise ship
Licensing: Perpetual Publicity, Collateral, and Advertising use
Photographer: US-based food/drink and lifestyle photographer
Client: Major cruise line

A photographer came to us recently with a common challenge. A client they had been working with for several years was back for another shoot. In the past, the photographer had provided “all-in” price quotes that consisted of a single bottom-line figure rather than itemized fees and expenses, and they didn’t address licensing in their contract. Instead, the handshake agreement was that the client could use all the photos however they wanted, forever. Since the photographer had consistently delivered great results, they felt it was time to assert themselves a bit more in their contract negotiations.

Pricing vs. Negotiating

There are two parts to the way I help photographers. First and foremost, I help them quote on the project at hand (that’s the pricing part). But along the way, I look for opportunities to consider the negotiating part (this blend of art and science is what makes the process interesting — much like photography itself). Over the years, I’ve learned a lot of basic principles of negotiating, where a subtle shift in thinking can have a big impact on pricing.

In this case, the first rule of thumb I shared with the photographer was that you don’t get what you deserve; you get what you negotiate. Being a freelance photographer is different from having a full-time job, where raises and bonuses are usually built into the system. Freelancers have to periodically (and respectfully) modify their pricing and terms as they gain leverage in the relationship. As photographers develop their creative, technical, logistical, and interpersonal skills, they deliver more value to their clients — and gain more leverage to raise their prices or limit usage. In this situation, I was preaching to the choir. The fact that the photographer came to us suggested they already knew it was time to make a change.

Itemizing Fees and Expenses

The main correction that they needed to make was to move away from their “flat rate” pricing structure and adopt a more descriptive “fee plus expenses” pricing structure. A flat-rate approach will make sense for wedding photographers who are working with retail (business-to-consumer) clients who are either going to accept or reject your proposal. In contrast, it’s not uncommon for commercial photographers to go through multiple rounds of price quotes with a client, as the parties hone in on exactly what needs to happen and what the client needs to get in the end. And especially with price-sensitive clients, breaking out fees and expenses gives both parties the information they need in order to come to an agreement.

Psychologically speaking, a commercial price quote will usually benefit the photographer, and all-in pricing will usually benefit the client. We often see this when a client comes to a photographer with what appears to be a big budget, but once you take a hard look at the expenses, you realize that the fee is quite small.

In addition to separating the expenses into line items, it will usually benefit both the photographer and the client to describe creative and licensing fees in detail (creative refers to what you’re going to do and licensing refers to what the client is going to get).

Commercial photography licensing falls into 3 main types: Publicity, Collateral, and Advertising. Instead of simply describing the license as “Unlimited Use,” breaking it into types and sub-types (in addition to the number of images, the territory, the duration, and exclusivity) allows the photographer to incrementally adjust the fees and/or expenses to meet the client’s budget, while delivering the usage that they need most.

It’s also important to understand that the photographer’s previous flat-rate “all you can eat” pricing model was dysfunctional because it didn’t incentivize them to be as productive as possible; it incentivized them to only be as productive as necessary. The photographer saw that it would be better to create a win-win pricing structure where the more productive they were, the more value they would deliver to their client and the more money they would make.

Reverse Engineering the Estimate

Since the photographer had previous experience working with this client, they had several invoices that allowed us to reimagine the new price quote in the form of itemized fees and expenses instead of a flat fee. We looked at how many days the previous shoot lasted, how many final images the client received, and what the final price was. That allowed us to “reverse engineer” the new estimate with the creative fees, licensing fees, and expenses broken out.

Last year, the photographer worked on a similar project (in terms of shoot days, number of images, and usage) for this client, where they charged a flat fee of $50k. Based on that information, here’s how we broke out the new quote:

Once we broke it all out, the numbers supported my initial impression. While most photographers wouldn’t ask too many questions if they were offered a $50k assignment, when you do the math, you see that the photographer is charging just over $1,200 per picture for perpetual publicity, collateral, and advertising use, which is fairly modest.

Results

The client accepted the photographer’s proposal.

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By Bryan Sheffield, Wonderful Machine

Each month, we analyze a recent cost estimate, contract, or purchase order and present it in the form of a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share useful information that would otherwise be confidential. You can learn more about how we can help you with Pricing & Negotiating on theConsulting Services page of our website.

Concept: Still-life and lifestyle photography of talent wearing athleisure.
Licensing: Web Collateral, eCommerce, and Paid Social Media use of all content captured for 3 years.
Photographer: Still Life Product and Brand Narrative photographer
Client: Sports Apparel brand

I recently worked with a photographer to estimate and negotiate a project for a smaller sports apparel client. In our initial creative call, the client described the need for “dynamic and compelling” product images of their new retail line consisting of 100 items of athleisure. They wanted still life shots in sports fans’ homes as well as the same products worn by a model in a tailgating scene. We built a complete production estimate covering crew, locations, talent, set design, props, hair, makeup, wardrobe, and retouching across an estimated 125 images. These final assets were intended for the client’s website, e-commerce platforms, and paid social media.

The photographer and I worked through the shot list and creative concept together and built out a rough schedule. We landed on a six-day shoot: four days at a rented home and two days at an outdoor tailgating location.

We connected with a local producer the photographer had worked with previously to weigh in on location options, crew costs, and overall logistics. Then, we mapped out an overview of the crew, art department, talent, and styling needs. From there, we started reaching out for availability and high-level costs.

We then scheduled a call with the client to further discuss the project direction, overall budget, and day-by-day plans. The client was aligned with our plan, but revised a few minor details around location and props. We also used that call to clarify what the client would be responsible for. In this case, they would supply all products to be photographed, handle product shipping, and cover all client travel expenses.

Fees

The photographer had previously worked with a colleague of the client on a smaller project and was highly recommended. This, combined with the client’s engagement on our calls, made us confident he was a strong contender for the project.

Given the client, the creative description, the shot list, and the intended uses, I felt $34,800 was an appropriate creative/licensing fee. This was broken down as a $2,500/day creative fee and $19,800 for three years of Web Collateral, eCommerce, and Paid Social Media use of all content captured. This worked out to $5,800 per shoot day, which I felt was in the mid-range for a project of this scope, this client, the region, and the 3-year use license being conveyed. The photographer agreed it was appropriate, though noted it was toward the top end of their range.

We also added two photographer pre-production days for client meetings, creative planning, and crew sourcing. A tech scout day and a pre-light day were included, billed at $1,500 each.

Crew

We included the project’s producer at $1,000/day across 14 days to cover prep, tech scout, pre-light, shoot, and wrap. We budgeted a first assistant at $750/day for 8 days to support the tech scout, pre-light, and shoot days, alongside a second assistant at $650/day and a third assistant at $400/day, both covering pre-light and shoot days. We also budgeted a digital tech at $850/day for 7 days and a production assistant at $400/day across 8 days (2 prep and 6 shoot). The local producer sourced these rates through their trusted crew network.

Equipment & Production Supplies

We included $2,300 per day for cameras, lenses, lighting, and grip rentals. The photographer would bring their own cameras and lenses. They planned to rent lighting, modifiers, stands, and grip from a local rental house. We added $900/day for the digital workstation rental and $1,350 for three hard drives. Two production SUVs across the eight days came to $2,400. Miscellaneous production supplies (generators, tables, chairs, fans, and heaters) added another $3,000.

Styling Crew

Since the art department and product and prop styling needs were quite large, we accounted for seven crew members.

The production designer was included at $1,000/day for 11 days, covering 3 prep, 6 shoot, and 2 wrap days. The set decorator came in at $750/day for 10 days (3 prep, 6 shoot, and 1 wrap). The First and second set dressers each came in at $500/day for 8 days — 1 prep, 6 shoot, and 1 wrap.

The Prop Stylist was included at $950/day for 13 days — 5 prep, 6 shoot, and 2 wrap and return days. Both a first and second prop stylist assistant joined at $400/day each for 9 days (2 prep, 6 shoot, and 2 wrap and return days).

Since the single talent functioned more as background than a featured model, we kept the wardrobe and hair and makeup team lean. A wardrobe assistant came in at $400/day for 1 prep and 2 shoot days. A hair/makeup Stylist came in at $850/day for the 2 days with talent.

Styling Expenses

We estimated $6,000 for furniture and location set dressing, and $2,400 for prop purchases and rentals. Art department and props trucking added $1,800. Wardrobe for two looks for the single talent came to $800.

Casting & Talent

The creative direction called for two male talent in their mid-30s, each on set for one day. We included a casting director at $850/day for 2 days, and two talent at $1,400 each, plus a 20% agency fee.

Travel

The stadium parking lot location required a bit of a drive for the full crew. We included $1,168 in mileage for the 13 crew members.

Location & Studio

Working with the producer’s locations team, we included 4 Location Scout days plus an estimated $219 in mileage reimbursement. We budgeted $3,500/day for a home living room rental across 3 days (1 prep and 2 shoot days). We budgeted the same for a dining room and kitchen rental. This accounted for the possibility that we might not find a single property with all the spaces we needed, something we explained clearly to the client on our walkthrough call.

The estimate included $2,500/day for the stadium parking lot rental for the tailgating scene, $750 for anticipated permits, and $1,200 for parking and signage.

We also included two motorhome rental days at $1,900 each to house the clients, hair, makeup, and wardrobe, and provide power and restrooms at the tailgating scene. To allow props, trucks, and grip to remain on site overnight between the two tailgating shoot days, we added security guards at $70/hour for 14 hours.

Catering & Craft Services

We included $8,910 for catering and craft services to cover 15 crew, 1 talent, and 2 clients across the shoot days. We also included $750 for pre-light and prep day meals for the crew.

Insurance

We included Liability Insurance at $2,333, calculated at 1% of the bottom line. We also included a note that the payroll fees would include Workers’ Comp.

Post-Production

The estimate included $1,200 for the photographer to perform a first edit for client review and deliver roughs via web. We had estimated roughly 12 hours of editing time for the photographer to review the images from the 6 shoot days. We included $100 per image for retouching across the requested 125 images (up to one hour per image). Additional retouching would be billed at $125/hour.

Results

We sent the estimate alongside a photographer’s treatment, which included an overview of the project approach, timelines, location references, and relevant work samples. A few days passed with no response. I followed up with the client and suggested a walkthrough call, which we scheduled for the following week.

We spent about 30 minutes reviewing the plans and expected costs. The client only had a few minimal questions, mostly around roles and responsibilities, and who would be handling the products on set. No revisions came out of the call.

A week later, I checked in again. Another week of silence followed.

When I followed up with the client about the dates we’d penciled in, the response came the next day in a long email. The client had decided to move forward and execute the entire project using an AI artist.

The email was kind, graciously thanking us for the time and care we’d put into the planning. Their reasoning cited cost savings, the ability to “own” the assets outright (I took this to mean use for whatever they want in perpetuity,since AI images cannot be copyrighted). They also mentioned the ability to “share” the work freely with partners.
Even though their response clearly described the client’s desire to spend little on quick work, it was a disappointing outcome, especially given how much time and energy the photographer, local producer, and I had invested.

I replied to the client that we’d love to work on the talent lifestyle portion of the project, reminding them that AI rendering of people (at least, in my opinion, and as of early 2026) still falls well short of life-like. The photographer chose not to respond to the client but sent a very kind thank-you note to the local producer and me. I never heard back from the client.

Takeaways

Clients are starting to judge AI-generated content on more than just cost savings. They’re also thinking about time efficiency, lack of licensing restrictions, ability to share with partners, and how flexible the content is to modify and adjust. Since in still-life product photography, there are no people or live moments to capture, this shift to AI-generated content seems to be happening especially fast. There are certainly clients who stay away from AI content because they need to secure copyright and ownership of the work. Photographers and producers have the strongest advantage in areas AI still can’t recreate well: real people, real places, and authentic moments.

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By  Andrew Souders, Wonderful Machine

Each month, we analyze a recent cost estimate, contract, or purchase order and present it in the form of a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share useful information that would otherwise be confidential. You can learn more about how we can help you with Pricing & Negotiating on the Consulting Services page of our website.

Concept: Short-form video content for a household product brand’s social media campaign.
Location: Eastern US metro area.
Client: Global consumer goods company.
Agency: Dedicated creative division within a global advertising network, working exclusively on behalf of the brand.
Director: Product and Brand Narrative Specialist.
Licensing: Copyright transfer (work made for hire).

I recently worked with a director to develop a competitive bid for a social media motion campaign for a well-known CPG (Consumer Packaged Goods) brand. The creative brief called for a series of playful and visually engaging product videos blending various content, physical gags, and clever prop builds to highlight the brand’s hero product. The agency was seeking a team that could elevate the product conceptually while executing with polish and impact on a fast-paced schedule.

The scope included one primary shoot day in a studio setting, preceded by multiple set-build days and a dedicated pre-light day. Expected deliverables included five unique video assets (ranging from 6 to 15 seconds each). The brand would use the content across its web channels, organic social platforms and in paid social media campaigns.

Because this project was part of a closed bid process with a stated budget ceiling rather than a more flexible estimate or negotiation, we were working against a firm deadline and in competition with other vendors. That meant ensuring the numbers were precise, costs were well defined, and that the bid was ready to withstand both agency scrutiny and internal brand approvals.

Bid vs. Estimate

Since this was a firm bid, not an estimate, we shaped our approach accordingly. Unlike a conventional estimate, in which final costs can be accounted for during invoicing to reflect actual expenses, a firm bid must be submitted with a locked bottom line. The agency’s bidding platform required fully itemized pricing to make it easy for them to compare bids.

That meant we needed to add in enough budget wiggle room to stay flexible while remaining competitive. Our goal was to create a competitive submission while still supporting the production’s creative ambition. We made sure the bid clearly identified agency/client responsibilities (including final editing, talent releases, talent payment, and production insurance).

Fees

We proposed a Creative Fee of $22,500, plus $6,000 for pre-production fees to cover the director’s creative development, pre-production, set-building, pre-light, and oversight throughout the process. The agency wanted the project to be a work made for hire, making the client the copyright holder. Pricing work-for-hire is tricky because creative and licensing fees for photographers are usually proportional to the usage. If the usage is infinite, you can’t charge the client an infinite amount of money for that use. So you have to imagine what the maximum practical use is and price it based on that.

The other consideration when pricing video is that while still photographers have historically retained their copyright and charged a fee based on the extent of the licensing agreement, film and video directors have historically charged a project fee (often tied to a “day rate”) in exchange for a transfer of copyright. So, regardless of any theoretical value we might dream up, we always have to consider the value that other photographers/directors (or their agents) would assign to the project.

We grounded our number in precedent: a similar campaign for another consumer brand (also structured as work-for-hire) had landed at the same $22,500 fee for a one-day shoot. The fees also reflected the directors’ intent to keep the costs competitive without sacrificing quality. With much of the budget going toward studio rental, set builds, specialty camera kit/rigs, and a robust crew, the goal was to secure the award and ensure the creative could be executed properly, even if it meant keeping the creative fee leaner than it might be under a typical licensing/usage-based model.

Crew

The crew was scaled to support the full technical and creative needs, including high-speed camera work, motion control, and practical rigging effects. Crew positions included Director of Photography, Assistant Camera, DIT, key grip, swing, and production support roles.

We included seven producer days and three days for a dedicated on-set production coordinator, providing support across prep, pre-light, and the shoot itself for communication between creative and technical departments throughout the schedule.

Equipment

Given the creative camera techniques called for in the treatment, including slow-motion style gags and macro product shots, we included a healthy budget for two full camera packages, including a Red Vista Vision Raptor and a Phantom high-speed camera, a range of lenses, and a motion control system. Additional budget for the DIT’s workstation and monitors, lighting and grip rentals, AC kit fees, storage media, and contingency for other supplies and expendables brought our estimated equipment costs to $39,450.

Styling & Set Build

While the shoot was limited to hands-only talent, the styling and art departments still played an important role. Art direction required the build of multiple stylized environments: a custom interior, tabletop setups, and a monochromatic seamless background. The most complex element involved a rigged creative gag that would require prototyping and practical effects planning.

To support this, the bid included several dedicated art department crew members, rigging, and a staging fee to cover testing and prep work. It also allocated additional budget for painting and restoring a studio cyc wall and other surfaces to match the brand palette. While none of the builds were overly complex in isolation, success would rely on thoughtful coordination among set, styling, and performance, all working in service of quick, inventive storytelling.

The budget included a professional manicurist to ensure a clean, consistent, and camera-ready appearance across all scenes involving talent. Wardrobe and HMU were intentionally excluded — the concept called for bare arms and neutral skin tones to keep the focus on the product and set design.

Casting & Talent

The project called for three non-union, non-recognizable hand talent to be featured performing simple product interactions throughout the footage. Our bid included a $4,000 casting fee, which covered coordination and prep for a video-based casting process led by an external casting agent. We planned to make talent selections via casting decks and pre-recorded submissions shared with the agency for review and approval.

While the director was going to manage the casting, the agency wanted to pay the talent directly. We noted this division of responsibility in the bid details to prevent any overlap or budget conflicts.

Locations

The shoot would take place in a rented studio in the same building as the directors’ workspace. This was a convenient, cost-effective option that allowed for coordination during prep and shoot days. The studio featured a full cyc wall, sufficient square footage for custom set builds and rigging, and easy access for art department and gear delivery. While it was not the directors’ primary studio, its availability and proximity made it an ideal choice. A dedicated prelight day was also added to finalize technical and lighting setups ahead of the shoot.

Meals

Catering and craft services were included to support a full-day shoot with client, crew, and talent present, with additional budget padding to accommodate a longer 12-hour day and some basic meal options for crew on prep and pre-light days.

Miscellaneous

The bid included $1,000 to cover shipping, messenger services, and minor incidentals, as well as a separate $386 fee to account for the 0.25% platform fee charged by the agency’s bid submission portal. Production insurance was to be provided directly by the agency, so we chose not to include this as a passthrough expense in our bid.

Post-Production

We noted in the bid that the client’s in-house team would handle all post-production, but that the directors would consult during the early stages of the edit. This collaboration ensures they can offer feedback and maintain consistency with their creative vision, specifically regarding shot selection, pacing, and tone. The agency was keen for us to include this for continuity of tone and the creative integrity of the final work.

Because the agency wanted the majority of control of post-production editing, we kept our post budget minimal. We included a $1,000 fee for video processing, delivery, and archiving, as well as three days’ worth of post-production management, oversight, and consulting at $1,500 per day to account for the director’s time reviewing and providing feedback on the first round of agency edits.

Results

The project was officially awarded to the director shortly after our bid submission and internal review. The agency noted they were particularly moved by the thoughtful budget structuring alongside a treatment the directors put together to show their intended visual approach. They also emphasized that the pricing clarity and confidence we presented were key factors in their recommendation to the client. Pre-production scheduling kicked off immediately, and the campaign launched at the end of the year across the brand’s social channels.

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Further Reading
Read more articles about Pricing & Negotiating on our blog.
Specialty: Still Life/Product Photography

By Andrew Souders, Wonderful Machine

In addition to helping photographers build price quotes from scratch, Wonderful Machine offers an Estimate Review service on existing quotes that photographers have created themselves. It’s often helpful to have an extra set of eyes and credible insight to polish up your price quote before sending it off to a client.

Just as with our other Pricing & Negotiating case studies, we redact the names of the photographer and client, which allows us to share valuable and educational information that would otherwise be confidential.

Concept: Two-day employee portraiture and lifestyle library shoot for social, internal, and recruitment materials
Licensing: Perpetual worldwide Web Advertising, Publicity, and Collateral use of up to 100 images
Photographer: West Coast-based lifestyle and portrait photographer
Client: International beauty and personal care brand

A West Coast-based photographer was recently approached by a global beauty brand to capture candid and environmental portraits and lifestyle images of employees over two shoot days. The 100 final images would be used across a broad range of platforms — including career websites, social media, digital ads, internal presentations, publicity, and print collateral like career fair flyers.

While the scope of the project resembled other projects this photographer had worked on in the past with other clients, this project was for a more high-profile client with greater licensing needs and a bigger budget. The photographer asked us to help refine their estimate and determine appropriate creative and licensing fees commensurate with the project’s scale and client expectations.

Scope & Usage

The project called for two shoot days. The first would take place at a local retail location before business hours as a shortened half-day, while the second was planned as a full day at the brand’s nearby corporate offices. The client would handle casting, scheduling, styling, and shot list development.

While the requested usage rights were broad, they were primarily planned for web collateral, internal communications, and printed materials for recruitment efforts such as career fair flyers, with the exception of some digital advertising, which we expected to remain relatively limited and would not include any POS, OOH, or Broadcast use. Given the compressed timeline for shoot days and the volume of final deliverables, there was a clear need to structure the shoot efficiently. At the same time, it was important to balance the project’s production needs with an appropriate creative and licensing fee that reflected both the scope and intended use.

To help add context to what we reviewed and advised on, I’ll include the photographer’s original estimate format and agreement language below:

Photographer’s Draft Estimate

The expense total came to $12,040 and was modeled after past projects for similar clients with similar deliverables, but those projects had more limited usage and smaller client budgets. Recognizing that the licensing in this case was broader and likely held more long-term library value for the client, the photographer also consulted with me for guidance on how to properly structure the creative and licensing fee portion of the estimate alongside the rest of the production costs.

After reviewing the intended usage and factoring in the compressed timeline for capturing such a high volume of deliverables, we recommended introducing a creative and licensing fee in the range of $20,000 to $30,000. This range felt like a fair balance that accounted for the breadth and duration of usage for a library of images, while still reflecting the relatively straightforward nature of the shoot from a creative standpoint.

Revisions and Recommendations

After a detailed review of the scope of the project and the licensing terms, I worked with the photographer to revise the estimate. We incorporated a $22,000 creative and licensing fee that reflected the value of the deliverables and requested usage. We also recommended increasing the retouching budget to $5,000 to account for additional retouching and polishing work that might be required for final selects, such as potential logo removal from employee outfits. The fee for preparing a gallery for client review was adjusted to $1,000 to better represent the time and labor involved for this number of images. We also added scouting fees for both shoot locations – $750 for the photographer and $650 for their assistant.

The rest of the production expenses, including crew and equipment rentals, remained consistent with the photographer’s original approach, although we reorganized how it was presented to provide more clarity. While we discussed the possibility of bringing on a second assistant to help maintain an efficient pace on set, the photographer chose to keep the crew lean to remain flexible in potentially tight environments.

We see this a lot, where a photographer has experience working on smaller projects for smaller clients. When a big client comes along with a big project, they’re often not sure what to charge. Once we took the expanded licensing and long-term library use into account, there was a clear opportunity to revise the fee structure to better match the value being delivered. These revisions brought the total estimate to $38,440.

Below is a revised version of the estimate that reflects my recommendations.

Treatment

We also encouraged the photographer to submit a treatment to accompany their estimate. Though not specifically requested by the client, it helped communicate the photographer’s interest, approach, aesthetic, and overall sophistication. The document featured example images, described lighting and post processing, and showed that the photographer understood the brand.

Outcome

The photographer submitted the estimate and treatment, and shortly afterward, was awarded the project. Reflecting on the process, the photographer shared that our collaboration helped them feel more confident in how they framed the value of their work, especially for high-profile clients

While the core production approach remained largely unchanged, the creative/licensing fee, retouching budget, and presentation were strategically refined to better reflect the project’s scope and value.

This project is a strong example of how a modest investment in estimate refinement can help land a significantly higher fee for the photographer and set a new benchmark for pricing future projects.

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By Andrew Souders, Wonderful Machine

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 Image Licensing service on the Consulting Services page of our website.

Concept: Additional licensing for previously shot conference images, including a new set of selects
Licensing: Publicity and Collateral use of the original 25 images for an additional 3 years, and Publicity and Collateral use of 7 additional images for 5 years
Photographer: Corporate and Portraiture photographer
Client: U.S. non-profit healthcare organization
Agency: Healthcare communications agency representing the client

A photographer partnered with me to help navigate an image licensing expansion for a recent conference shoot. The client, a non-profit healthcare organization working through a major healthcare communications agency, wanted to expand usage rights for a set of images and license additional selects from the previously photographed event.

Client Request

The original license covered a batch of 25 images from the conference shoot for use on digital, social, conference, and internal platforms – terms that generally fall under what we define as Publicity and Collateral use. The client had previously agreed to $6,900 in creative/licensing fees for this usage, granted for a period of 2 years.

As the client sought to extend the usage of these original images and license new selects from the shoot for a longer timeframe, we also identified an opportunity to improve clarity in the licensing terms. The original agreement did not include a definitions clause for the stated usage categories, and the terms digital, social, conference, and internal felt somewhat open to interpretation.

To address this, we recommended that the photographer adopt clearer and more standardized usage definitions. We updated the language in the new agreement to reflect our recommended terms and included a Definitions section, helping both parties better understand and align on how the images could be used.

The client specifically requested pricing for:

• Extended Usage for the Original 25 Images: The client wanted to extend the current usage of the 25 images for an additional 3 years.
• Unlimited Usage for the Original 25 Images: The client was also interested in pricing for unlimited, perpetual usage rights for the original 25 images.
• New Selects: The client wanted to license additional selects from the conference shoot, requesting them for various usage periods: 2 years, 5 years, and unlimited use in perpetuity.

Proposed Options for Original 25 Images

Keeping the previously agreed-upon fees in mind, we wanted to propose a solution that expanded on the original licensing agreement to meet the client’s needs while ensuring proper compensation for the photographer. To navigate the negotiation, I worked closely with both the photographer and the agency client to craft a pricing structure that was fair and competitive. Here’s the expanded licensing structure we proposed:

Extending Usage for Original 25 Images

We proposed two options for extending the usage of the original 25 images:

• Publicity and Collateral use for an additional 3 years: This extension would cover the same usage platforms (originally defined as digital, social, conference, and internal use) for an additional 3 years.
• Additional Fees: $4,500 total.

This fee was calculated as a fair percentage of the original licensing cost, considering the multi-year extension and the added value.

• Unlimited use of up to 25 images in perpetuity: This option offered the client perpetual, unlimited use of the original 25 images.
• Additional Fees: $10,500 total.

Given that unlimited use provides value over an indefinite period, I suggested we propose a fee 2-5 times the original annual fee, offering a flat rate to ensure the photographer’s compensation for indefinite usage.

Proposed Options for Additional Selects

Pricing for Additional Selects from the Conference Shoot

For the new selects, we offered the following usage options and fees:

• Publicity and Collateral Use for 2 Years
• Fee: $325 per image (plus any additional retouching).

This price was based on the original per-image licensing cost, slightly increased to reflect the extended usage.

• Publicity and Collateral Use for 5 Years
• Fee: $650 per image (plus any additional retouching).

We scaled the price for the 5-year usage based on a multiple of the 2-year option, maintaining a competitive yet fair fee.

• Unlimited Use in Perpetuity
• Fee: $1,200 per image (plus any additional retouching).

The price for perpetual use was designed to reflect the value of indefinite usage rights, with a tiered discount offered for multiple images to make the offer more attractive to the client.

Proposed Pricing for Additional Selects with Unlimited Use

To accommodate the client’s interest in licensing additional images with unlimited usage, we proposed a discounted bundle for licensing 15 additional images with unlimited use in perpetuity. The proposed package rate was $12,750, or $850 per image. This offered a significant discount compared to the single image rate of $1,200 per image, encouraging the client to license more images at a reduced rate.

The Outcome

After the negotiations, the final terms and costs were agreed upon:

• $4,500: Publicity and Collateral use of the original 25 images for an additional 3 years.
• $4,550: Publicity and Collateral use of 7 additional images for 5 years, including basic color correction with delivery of the selects.

Grand Total: $9,050 for the extended image usage duration and additional selects.

The client was able to extend the original licensing agreement for the desired period while also licensing the new selects for an extended term. The photographer was fairly compensated for the additional usage and new images, while the client secured the expanded usage they needed.

Takeaways

Clear, well-defined pricing structures simplified the negotiations while ensuring the creative work was properly valued. By offering flexible licensing options such as time-limited extensions, perpetual use, and multi-image bundles, the photographer met the client’s needs without compromising on value. This transparent approach gave the client control over the decision-making process and allowed them to make informed choices within their budget, encouraged larger purchases, and fostered a fair, collaborative process to meet their needs. Ultimately, it strengthened the working relationship and demonstrated how thoughtful image license pricing can benefit both sides.

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By Bryan Sheffield, Wonderful Machine

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:

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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By Andrew Souders, Wonderful Machine

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.

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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Andrew Souders. Wonderful Machine

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.

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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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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By Bryan Sheffield, Wonderful Machine

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.

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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By Craig Oppenheimer, Wonderful Machine

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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By Bryan Sheffield, Wonderful Machine

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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By Bryan Sheffield, Wonderful Machine

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 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!

Follow our Consultants @wonderful_at_work.

By Bryan Sheffield, Wonderful Machine

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 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!

Follow our Consultants @wonderful_at_work.

By Bryan Sheffield, Wonderful Machine

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.

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.

By Craig Oppenheimer, Wonderful Machine

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 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:

Results

The photographer was awarded the project.

Follow our Consultants @wonderful_at_work.

By Andrew Souders, Wonderful Machine

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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