Bidding Process

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. 

Q:

Can you recall a treatment that went above and beyond the prerequisites and landed the photographer the job?

A:

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.

Q:

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?

A:

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

Q:

What is the standard day rate for a photographer?

A:

The standard day rate, creative fee, or per shot assignment fee for a photographer depends on the industry they are in. I hear editorial is $500 per day unless it’s a magazine cover. Commercial advertising can run the gamut usually starting at $3,500, up to $6,500 or even around $15k for big jobs.

Also, factor location scouting, prep days, travel days and overseeing post production rates into that rate. And then remember to factor in all the costs of each industry.

Unfortunately there is no clear answer here but there are some great resources to reference. Those are noted below. 

Resources available for pricing help: visit @aphotoeditor online for pricing and bidding help, they feature sample estimates

@wonderfulmachine is also great and can step in and help with estimates. 

You can also always reach out to a photo agent with questions and we are often happy to hop on a job with you and negotiate your rates. Send industry related questions to [email protected].

Sales tool number uno: sometimes keeping my mouth shut and listening

Q:

How does the process of getting a photographer a job happen at an agency?

A:

Guest Post, Mara Serdans: It’s a multi-step process. After I speak with the creatives about their needs, I’ll provide them with a list of recommended photographers. Sometimes the creatives already have a photographer in mind. Oftentimes a few creatives need to approve the short list and it’s common to triple-bid larger projects. When the bidding begins, I schedule calls with the photographer and creative(s) to discuss the project and deliverables. After the calls I follow up with the creatives to find out if they are leaning towards a specific photographer. Once I receive, review and finalize the bids, we award a photographer the job and production begins. 

Guest Post: Creative Consultant, Mara Serdans

www.MaraSerdans.com

Q:

What are some examples of a bad estimate?

A:

Guest Post, Mara Serdans: Misunderstanding the project deliverables or details. Low-balling the estimate or forgetting to include specific expenses. This helps no one because it’s very difficult to ask the client for more money once a job is awarded. 

Guest Post: Creative Consultant, Mara Serdans

www.MaraSerdans.com

Don’t try to bid on every job. Win every job you bid on.