How do I know if I am too low on a bid?
If the client responds to your bid by asking if you have enough for certain line items like “location scout” etc, then you can assume you are too low. At that point I’d be direct and explain how you were assuming the budget was low, but you may have been mistaken. This can be turned into a positive to show your excitement for the project. Has anyone had an experience like this you’d like to share?
How do you know if you need a producer or not on your job?
If you foresee the job needing a producer you can always ask the client if they think there is room in the budget for a producer. It’s actually a nice way to try to get more budget info. If the answer is “no” then I would suggest not having a producer do the estimate for you because they usually have higher production costs.
What do you do if you don’t know how to ask for what you’re worth?
This is common and most freelancers don’t know how to rate themselves fairly while balancing out competition, usage or market prices. My approach is to connect with the client on the phone and listen to what they often want to tell me. My favorite sales approach is honesty. It works wonders.
What is your favorite sales approach?
Clients can’t usually give you numbers, you have to throw numbers out there for them to bring you up or down.
My client list isn’t huge and consists of mostly small startup companies. I’ve been on the shortlist for bigger jobs lately, but haven’t been getting awarded. The response I’ve been getting a lot is, “you have great work and we would love to work with you, but we’re going with someone who has more experience.” How do I get more experience and reputable clients under my belt when no one will give me a chance?
This type of response is most often what every bidder gets that isn’t getting the job. It could mean they liked someone else’s work more, or the other photographer had the specific look they were going for. It could be that the other photographer had the specific look they were going for, was better on the creative call, or had a better treatment. It could also be their past experience with the winner, or that the winner has a rep. Mostly, I’d recommend working harder and get your book even better with more stylists involved.
One line I add to all our bids:
“Bid based on info provided any changes may incur overages.”
Another good item to put on a bid is 50% advance payment of total due before shoot begins.
Can you recall a treatment that went above and beyond the prerequisites and landed the photographer the job?
I do remember a particular treatment ‘success story.’ My product photographer was up for a Google job, and he tested some comp images to show how he would bring the products to life. Perhaps that showed his enthusiasm or perhaps they saw the lighting they needed. They loved it and he got the job!
TREATMENTS:
Create a template for your treatments to help make it easier each time you are asked to create one. Your template would have sections like location, lighting, casting/talent, wardrobe, etc. I also suggest hiring a writer for each one and hiring a designer to create the template.
The treatment can make or break it for you when bidding on a job.
I personally think your portfolio should be enough to get you the job, but nowadays why not do everything you can to make that happen? Use this as a way to demonstrate your approach to this project and the type of professionalism, creativity, and enthusiasm you’ll be bringing to the job.
Do you separate usage on estimates or do you combine it with the creative fee into one large number? If you are just using one number, are you breaking out additional image licensing costs if a client wants more than the initial ask?
Some people break out and separate from the creative fee, but I have found this can get lowered too easily through shot count changes during bidding. I find it easier to include usage in one creative fee amount for that reason. I am breaking out optional additional usage if they ask for it.
ON “THE CREATIVE CALL”
Guest Post | Wonderful Machine & Craig Oppenheimer
It’s important to understand a few things about these phone calls. First, you should always assume that the agency/client is considering other photographers, and when they finish a conversation with you, they are likely jumping on a call to talk through the same details with another photographer…or maybe two or three more photographers. For that reason, it’s important to express enthusiasm for a project, be energetic, have questions prepared and generally put your best foot forward. I’ve been on many creative calls where photographers have responded to questions in one-word answers, or don’t have any questions about the project, and this is a sure-fire way for the agency/client to lose interest in you. Clients don’t just want a great photographer; they want a great collaborator as well. During the call, it’s therefore important for a photographer to prove that they have fully internalized the project, and explain how they can add value to the production and therefore the entire campaign. First impressions are crucial, and when you are meeting over the phone, it’s your voice and energy that matter, so make it count.
Guest Post: Wonderful Machine + Craig Oppenheimer/
originally published on Wonderful Machine Member Blog
