Estimates

Q:

When asked to bid on a job for Vegas attractions, I was told they want a BUYOUT for billboards, taxis, video walls, and ads for Vegas, but this entire campaign is unexpected and isn’t even in their budget. How in the world do I price something like this when they say something like that?

A:

When I hear this from a potential client, I hear, “We are looking to get a good deal with the lowest bidder.” This is a sales tactic that gives you a sense of what they are looking for. If you have any “down & dirty” ideas that will get them more bang for their buck with less of a production, this is that type of photoshoot. My warning in this situation is to have your estimate terms clearly state what IS and what IS NOT included in your bid. No surprises!

Q:

The client killed a project an ad firm brought to me last minute after I delivered the images. The feedback from the client was simply that they didn’t like any of the images and asked to kill the project – no opportunity to make adjustments or reshoot. Is there any value to reaching out directly to the client with an “I’m sorry that this didn’t work out” email?

A:

Yes, I would suggest reaching out to the client, but not necessarily with an “I’m sorry” email. You stand behind your work proactively and want to see if you can get them what they want or learn from the situation. Is it something you didn’t follow through with that does fall onto your responsibility, or were they unclear in their instructions and approvals on set? I tend to use honesty under challenging scenarios like this to allow the client to respond without being defensive. In saying all this, you should still be paid for your work whether they use it or not. I hope your estimate terms protect you in this situation.

When bidding on a job, clients may ask us to dive deeper into the basis of the costs. Put your business mind to work by understanding what the client needs to hear from you. 

Our estimates cover us for unexpected real-life additions like grip truck availability, insurance changes, crew covid testing results, overtime, etc. 

Our bids are not as black and white as clients would assume, so get ready to explain the gray areas in ways that speak their language.

Q:

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

A:

We are in an industry with no set rate structure. It’s a bit of a guessing game based mainly on usage licensing terms, the size of the company hiring us, and our experience in the different 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’s the difference between a brief and a deck? Do these usually have all the information I need to do an estimate?

A:

Before estimating a project, you should receive a PDF showing the stylized layout and mood board information called the ‘Creative Brief’ or ‘Creative Deck’ (same thing). The brief/deck will include the logistical production details unless supplied on a separate bid spec sheet. The creative element and the production details allow you to provide an accurate competitive estimate.

We can’t be spending our time doing estimates on information we don’t have. 

I’m hearing a ton of complaints from photographers wasting useless time on estimates that don’t turn out to be the real deal. I hear you! With no bid spec sheets, I get many of these requests that won’t reveal the budget upfront, so I focus on the points that help me see if this client is even ready for an estimate. Our goal is to quickly open up the communication doors, giving us a clearer sense of what we are dealing with.

My quick first step estimating questionnaire:

• What is the Usage?
• What is the specific Shotlist?
• Do you have a creative deck with the layouts + mood-boards?
• What are the talent rates?
• Do you have stylists you like to use?
• When is the creative call?

Q:

It was mentioned on your APA-LA webinar on Estimates a range of 8K-$16 for a full buyout. I got a job inquiry for 2 days, 120 images. They demanded a full buyout. I want $10k for the usage rights, plus my day rate. I didn’t get the job because they don’t want to pay this amount for the usage rights. What do you do? Reduce the $10k or keep your position? At the end I chose to keep my position, but I do need jobs…

A:

Usage rates have no definite set amount, so it’s a bit of an educated guessing game. The other guessing game is when clients use the term “full buyout,” which means they own the copyright or unlimited usage for an unlimited duration. Bidding a job requires negotiation to make sure everyone speaks the same language to reach a mutual agreement. In this case, your $10k usage rate request for 120 images is more than reasonable.

Q:

I feel like I’ve hit a wall with my business. I’m bidding on some jobs, but I’m not getting them. Clients want to get a crazy amount of images per day, and the budgets have shrunk. I’m struggling to stay on top of my game. Advice

A:

I base the creative concepting fee on the amount of time it will take you. It is ultimately the same equation as the shoot rate or creative fee minus the usage amount. Of course, this is adjustable to fit into your budget as there is no absolute structured fee for this, but my approach is time + stand-alone talent = money.

Is this estimate request worth your time?

If only we could find out the budget, that would make it all so simple, but clients tend to keep that to themselves. 

3 ways I open up the conversation by presenting the question differently:

1. Name a high amount to question what they have in mind.
2. Under or over a certain amount can help to get a yes or no. 
3. A range amount $ between $ offers a safe and manageable option.

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.