Clients

Q:

What would I put as a line item on my invoice for hourly random admin things? This came up recently when I had a client send me so many pages of documents to fill out; they’re also calling me and winding up on calls for hours and having me send proofs in multiple different ways. I want to bill for that time since it’s excessive but I don’t know what to call it. I would love any insight you have!

A:

Every bid I do has prep days to cover admin organizational time. I’ve even put an in-person pre-production meeting line item in the bid with a $0 amount to show that our prep time is not free. 

It’s good to spell out your terms with all the specifics, as far as which tasks are covered by your prep days, so if they want to add more, it’s clear they will pay more.

Q:

I am experiencing out-of-control clients requesting added or changed images as we are shooting, missing detailed composition into not included in the brief, and even complaining about actual details they didn’t want to see after I light their props – it’s crazy how uneducated these clients are! How do I handle this?

A:

The multi-parted answer to keeping the calm with out-of-control clients is all about covering yourself before any craziness begins. 

1. Have your estimate terms & conditions signed to protect you legally. 
2. Break out the job details step by step by covering the costs, what is included/not included, what the client will provide, including timeline and specific dates. 
3. It’s a good idea to submit a calendar schedule backing up the estimate line items clearly showing the expected dates. 
4. Best to have a producer on board to handle the clear communication, allowing you to focus on what you do best. 
5. A pre-production call is important to go over the step-by-step process, limiting any unknown surprises. 
6. Do not begin production and incur any costs without the advance payment of at least 50% of the total upfront. 
7. Do not hand over the final images until you have deposited the final payment. 

Q:

What does it mean when a client wants me to bid on a project, but they don’t want to have a creative call?

A:

If clients don’t want a creative call, that may be a sign for us to read into how they are not taking this as seriously as we’d like. It is time for the photographer to share their vision and approach, introducing the director who you will be on set. I read into them skipping this stage in a couple of ways: You may be the 3rd bidder and not be high on their list for this project so you should kick butt on your treatment as that can serve as your intro to the creatives and the client. Your estimate should be as ethically conservative as safely possible to entice the client to choose you but remember you could get locked into these prices in the future. This project may not be happening yet, and they needed your numbers to provide the client with a preliminary budget range.

Q:

So, I was recently asked to pitch for a shoot with ***** for *****. The topline brief included a total budget (presented to client) of $80,000. They had set the photographer fee at $1,000 with an inclusive social usage for 3 months (I assume paid post) they also wanted post production included within this fee!

My question is, how common is the huge disparity between total budget and photography fees?

A:

This huge disparity between total budget and photography fees sounds fishy to me. These days, many projects come from smaller social media agencies or directly from production companies, who often have more control over the production budget. We need to keep a watchful eye over who is hiring the photographer and setting the fees. Companies that control your fees may also be the same companies that have you sign away your copyright ownership. Know who you are dealing with, what you agree to, and who you are trusting.

Every bid inquiry requires its own fine-tuned strategy + gameplan. 

The question is, which response will align with the client’s goals to get us the job while clearing up any potential usage terms that don’t protect you. We usually have to think quickly and make fast decisions following our instincts. Sometimes it’s in our best interest to wait for the details to be ironed out after the creative call. Strengthening our position first can allow us to make the changes we ultimately need to make.

When we are asked to bid on a job, especially client-direct jobs, they often request usage terms that we may disagree with, such as copyright issues or work-for-hire clauses that restrict us from showing the images. These terms often need education because, unlike ad agencies, client-direct clients may not fully understand what they’re asking for.

What I like to do is take a strategic approach: I first suggest having a creative call where we sell them on our ideas using catchphrases that will make them think, “This is the person we must work with.” During this call, we showcase the images and have the producer on the call to really hook them. Only after this is it time to negotiate the usage terms.

Assess whether you need to address these terms upfront before you bid on the job or wait until after the creative call to use the opportunity to get them hooked.

Q:

I recently lost out on a job because my perpetuity number scared off the agency. They needed a 5 year license estimate and a perpetuity estimate. My 5 year license was $16,000 and perpetuity was 4 times that. Seemed fair to me because I’m not comfortable with a lifetime license of my images anyway. What are your thoughts on this? I’m gutted because I lost out on the job but I’m ok with not giving a lifetime license away for next to nothing. 

A:

When bidding on a job requesting usage duration fee options, those are often an excellent place to start high, expecting to negotiate and not risk losing the job. 

The usual fundamental reasons you could lose a job you are bidding on:

-They have a #1 favorite choice in mind based on their style. 

-Your overall estimate price is much higher than someone else, so high they don’t even want to try to negotiate, 

-Your overall estimate price is very low, showing that you do not have the experience needed to fulfill the goals of this project. 

-Another bidder impressed them more with their treatment or ideas on the creative call.

Q:

Hi Andrea, there is one ‘ism’ no one seems to be paying attention to, especially re women: AGEISM. As a 50 year old woman who has been shooting for a LONG time and really trying every door, window, skylight, chimney, and drainpipe to get into the commercial world, I’ve found very patronizing attitudes toward me that seem totally divorced from the work I’m able to create. While there are places for women my age in the business, virtually none of them seem to involve actually HOLDING A CAMERA. What’s your take?

A:

Ageism is one of the many unfair “ism’s” in our very young-minded industry. Like anything that gets in our way, we have to focus on ourselves and figure out ways to get even better at fixing the core of the problem. I suggest everyone ask themselves what is getting in the way, where we are blocked, and what we can do about it. Ageism is real in photography and advertising; I’ve seen many clients suffer from this as they retire before they are ready. The questions and the answers depend on how we will incorporate our solutions into our business plan.

Q:

Where do creative directors, art buyers etc. look for new talent? I would appreciate any advice I can get.

A:

The business of photography depends on who sees our images; we have to find every potential method to put ourselves out there. Depending on the type of photographer you are, we have some really good options these days like Komyoon, Workbook, At-Edge, Blvd, Behance, PhotoPolitic, LeBook, Production Paradise, Found and Wonderful Machine. They all have a different vibe, go through them and see where you fit best. I suggest asking clients you want to work with where they look for new talent. After you give one of these a try, you can SEO your website and use Google Analytics to see where the traffic is coming in. It’s a timely process with no easy answer, but if you pay attention to your analytics, you can see what works for you.

Q:

Flying to NYC next week from LA for a job with a producer that has booked me on many well paying jobs this year. Have yet to have dinner or a drink with them, if we do get dinner, is that a time where I slap my credit card down and try to pay for the meal? Or they may just cover it and so it goes?

A:

Yes! When you get a job, it is your turn to spoil your clients. Hopefully, your budget is slightly padded to help you take them to a baseball game, buy them the special dinner, whip up some unexpected craft service during the shoot day and then splurge for a nice wrap party dinner for all the crew. It’s part of the job for you (and your rep) to say thank you in all the possible ways without it being too over the top.

We are in business that requires a continuous flow of fresh vibes! Clients hire you for your IDEAS skillset; show them you are a non-stop source generating new ideas. Take note of how your ideas come alive, pinpoint what works, and schedule more of this into your routine.

The business we are in requires new ideas; we have to stay fresh. I keep emphasizing this, but how do we stay fresh and generate ideas? Everyone is different, so figure out what works best for you. For me, it’s in the morning when I have a lot of energy and when I talk on the phone with my support staff. We trigger each other’s ideas and flow of thoughts.

What works for you? Do you go mountain biking, rock climbing, or meditate? Do you use a sketchbook to jot down ideas or visit mood board websites? Consider how you can track and capture your ideas effectively. Even if you’ve just launched a new campaign or website, you need to continue generating fresh ideas. One successful project doesn’t sustain you indefinitely. Find out how you get your ideas and integrate that into your life and routine.