Estimates

Q:

How do I know what to charge for interior shoots? The scale of projects is all over the place.

A:

Our industry doesn’t have a set rate structure, so pricing can feel like a guessing game. Rates are generally based on usage licensing terms, the size of the company hiring us, and our experience in the various types of photography. 

Each photographer has to come up with their midline rates based on previous jobs, the word from others, and where they are in their career and go from there. It will always fluctuate, but the one solid component of negotiation skills is asking for a higher rate than you expect, which can work in your favor. 

Q:

What are the most important things to include in a bid?

A:

Some MUST ADDS to every bid: 

1. Specifics of what the bid is based on (image count, variations, amount, and schedule of days, the deliverables, etc.)

2. Usage licensing terms and copyright rights 

3. Gear charges even when you own your equipment

4. Timelines and deadlines to clear up how many hours per day are included (pre-overtime), and when and how they will receive the final images

5. Anything you are expecting them to cover or supply

6. Advance invoice amount and date requirements

WATCH OUT FOR SCAMS, as production usually requires us to move quickly. Anyone telling us to send a payment before their finances are no longer pending in our bank account is a risk. The best method is to use an experienced producer instead of image makers handling all the finances if it’s not our specialty.

Q:

Do you always expect clients to negotiate? Or do they just walk away sometimes if the price is automatically too high?

A:

 Unfortunately, clients walk away for so many reasons beyond our control. I like to feel out the situation to hear the temperature of their response before fully committing to a price. Odds are more in our favor if we can create a human connection off the bat, helping us open the doors of communication. The conversation can include the openness to flexibility by discussing a price range before we officially submit an estimate. If clients know we are willing to budge, they may be more apt to negotiate. 

My top 5 tips for every estimate:

1. State the number of final images the bid cost is based on

2. Spell out details like, “No variations included”

3. Bid is based on the information provided; any changes may incur overages 

4. 10-hour shoot day

5. No overtime is included

Q:

Do you suggest always requesting a 50% advance? If so, what’s the best way to ask for it?

A:

Yes. Always include a request for an advance in your estimate, so it’s in writing once the estimate is approved. I use simple language like, “50% of total due prior to beginning of shoot.” If they ask for a different amount and it’s reasonable, that’s fine with me. I just need a legal guarantee that my photographers will be paid. I’d be scared to work without that reassurance. 

We can get “ghosted” after investing time in bidding for a job. What are some signs that we were never seriously up for this job?

Potential Bid GHOSTING Signs:

•Receive an email bid request with no phone or Zoom call

•No actual bid spec sheet with all the bidding/job details

•Casual instructions for us to “call for more info” as they are the ones who should know all the information

•A client who doesn’t look like they fit into our portfolio style

•The job title of the person contacting us does not sound like someone we normally deal with

Q:

I’m in the middle of negotiating a contract for a job I really want. The contract gives me no right to use the images for self-promotion, and effectively states that I could be sued for doing so. 

Should I take the money and work on building the relationship, or should I fight for my rights at the risk of losing the gig?

A:

I would talk to your contact at the company and gauge their flexibility. Explain why you need to show this work in order to secure future opportunities. 

Hopefully, they’ll be receptive to your concerns and willing to work with you on terms that are fair to all parties. At the very least, do your best to advocate what’s fair. 

Our industry also benefits when we stand together on issues like this. I understand why you wouldn’t want to walk away from the job over this, but asking for what you need (in a respectful way) shouldn’t cost you the job.

Q:

I’ve had issues this year with clients giving extensive shot lists. Due to time constraints, I’ve either had to do a free half-day reshoot to finish their list or missed key moments keeping track by cross-checking a list with a pen and paper. What wordage can I place in my contract to set better shot-list boundaries?

A:

Shot count lists have become secondary to clients and treated more casually in their bidding process. We must take responsibility for getting precise, specific shot counts upfront and setting limits and costs.

Here are some terms I’ve used:

• Bid based on a client-provided, exact shot list of up to 10 images, maximum, if time allows within a 10-hour day. No overtime is included in the bid.
• All costs are based on the information provided; any additional shots or changes may result in overages.
• No variations are included. 
• Final image count and timing are based on immediate on-set or remote client approvals.

Q:

What is your take on charging clients a fee for late payments on my invoices?

A:

I hate to say it, but clients are often late with payments. We can add a late fee to our invoice, but what we have the most control over is getting a 50% or 75% advance before the job begins.

Here are the estimate/invoice terms I use:

• TERMS: Due Upon Receipt
• USAGE (granted upon full payment)
• Balance payment due before image rights are transferred to the client
• Project closing invoices paid more than 30 days from the submission date are subject to a 2% late payment charge per month starting from the original invoice date.