Monday Q+A

Q:

Is “authentic” becoming synonymous with “cheap” or “low production,” i.e., not wanting to pay as much?

A:

“Authentic” means believable, so the term itself doesn’t necessarily imply cheaper photography. Many photo and broadcast shoots aim for a genuine style and use stylists to achieve that authentic look. However, social media content often has an authentic aesthetic and tends to come with lower budgets.

Q:

This may either be controversial or a matter of semantics, but what are your thoughts on photographers being ‘content creators’? It’s always made me feel cheapened, but maybe I’m just being stubborn?

A:

Personally, I see this issue as a financial one. If a client is paying appropriately for quality images you are proud to put your name on, that answers the question for me. “Content” is what most clients need these days, so not wanting to be a part of that could really limit your job opportunities. I’m curious to hear others’ opinions on this in the comments. What do you think?

Q:

What is the highest-yield genre of work right now?

A:

There are too many genres to name, ranging from fitness, pharma, food, lifestyle, and more. I wouldn’t recommend going for the popular industries because it’s really all about putting who you are into your images. 

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:

Other than consistently sharing their work, what are the best ways photographers can use Instagram?

A:

Instagram can be the best marketing tool available to us, but we need to use it correctly to make it work. Find your clients and engage with them. Be consistent with posts and Stories, and bring your authentic self to this marketing platform.

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.

Q:

The nature of advertising is changing. What do you think the future holds for photographers?

A:

This change we have been gravitating towards for a few years now is here. Work now comes from many different places which is harder to track but more work for more people. Marketing used to be simple because we knew who to contact, but now it’s more about being findable. Photographers who can deliver a large volume of content per day are getting more jobs. Move with the times and find ways to give more on every shoot. 

Q:

How do photographers handle filming video on shoots?

I’m just so used to just focusing on shooting photography on a set. Just stills, no video. My assistant usually shoots BTS videos on shoots, but that’s it. Are we supposed to hire someone to shoot video separately, and charge for it?

A:

As the agent, I’m going to answer this from the perspective of getting you the most bang for your buck. Many shoots do need you to be the overall DIRECTOR.

1. Be ready, technically speaking, to fulfill most potential job scenarios that come your way.

2. Choose the method (hire a DP, be the DP yourself, or focus on being the still photographer on motion sets) that delivers the highest quality of results in your specialized market.

3. Don’t let the fear of the unknown hold back your professional growth. Make sure to capitalize on pushing yourself to bring out the highest quality skill set you can muster!

Q:

Since I’m just starting out in the business, should I price myself a bit lower and work my way up? Can I get away with a smaller budget and get the same results?

A:

Normally, newer photographers can take on lower-paying jobs to help build their portfolios. Right now, you may be competing for these lower-paying jobs with more established photographers, but if you’re willing to offer additional services like extra time, post-work, video, etc., you’ll have a better chance of getting the job. Ultimately, the client wants to be reassured that you can handle the project, so make sure to reassure them and be flexible with budgets.

Q:

Any thoughts on what to charge just for a GIF?

A:

Specific negotiation topics to consider when pricing a GIF:

• It’s not a free extra, as a GIF is a highly valuable commodity.
• Image count, which forms the basis of our fee structure, must be considered for the stream of multiple images.
• Be specific with usage, as a GIF is a series of images used together and may not be priced the same as individual images.
• Clarify which size of video or motion usage is included for quality performance.