Monday Q+A

Q:

What can I do if I’m not happy with my USA representation? I respect my agent, but it isn’t happening. Basically, nothing has come out of it after 2 years, so I’m thinking of going with another agent if I can. Am I greedy? Am I impatient? How do I handle this fragile issue to make this change?

A:

Agents and image creators have equal team-playing responsibilities to find success together, but it truly takes both sides. I’m an agent, and we do our “sales,” which, of course, depends on the sales content we are provided. Is your agent getting your work in front of the right clients? How are the others on your agent’s list doing? Do you like your agent? Does your agent’s vibe inspire you to do your best? Are they available to you? Are they active on social media? These are some of the questions I’d ask myself if I were you.

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 with whom 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 need your numbers to provide the client with a preliminary budget range. 

Q:

 I’m starting to work for an agency in LA, for beauty clients. At first, she wanted just one day rate for all their client shoots, even though some wanted social media only and others also needed Out of Home. So I emailed her 3 different tier shoot rates with ranges, so going from here on out, she doesn’t think I would get paid the same amount. How do you go about pricing for OOH?

A:

Educating clients on USAGE pricing is a way of life for image creators, and knowing the appropriate or achievable percentages is a bit of a guessing game with no exact rule to it. I use https://artistmanagementassociation.org/chart-of-usages for their “% value of rate,” which is 10-15% for OOH. I also want to discern if that includes “digital” or not. Points I consider: * The impact of your image on this OOH ad

* What type of budget do I think is possible w/ this client

* What type of fee % do the talent agents charge for this

* I will try for a 25% additional fee first and use that as a negotiating starting point

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 of 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’s, so high that 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:

How do I get an agent when I have not booked any commercial clients, and I mostly do fine art/conceptual/corporate/family work? If I transition to a higher-end portraiture style and get some unpaid projects with AP & Reuters-type publications, will that help?

A:

 Reps basically need to see a style they can sell to their market. I am only familiar with the commercial advertising world, but I would think that if your work hits the mark for what photojournalism/editorial work looks for, you could get your foot in the door. Yes, photo needs have changed, but the bottom-line truth, in my eyes, is that talented skills keeping up with the times open doors.

Q:

How do I estimate a job when I am given the budget, but the layouts and the producer do not provide all the information I need?

A:

Estimating a job is not an accurate term because we are liable for our “estimate” price. Since an estimate is a “bid” for a project, we have to protect ourselves, as our reputation and the financial responsibility are on our shoulders. 

How I read the situation:

-They may be expecting you to be the creative director, creating their concepts, which is an additional role to be added to your fees. 

-Without all the details, you’ll need to expect fewer shots finished per day due to the exploration time required.

-Call it a rough ballpark estimate, making it clear you’ll need them to allow for revisions once you learn more information.

Q:

 Hi Andrea, we’re starting to get requests for a rate card to keep “on file” for “internal guesstimating.” Do you share rate cards, and if yes, have they led to better or worse outcomes?

A:

I’ve heard of these “rate cards,” and to me, it’s a red flag. I see this as a client who thinks we work for a few hours a day instead of a “day rate.” I get worried they don’t understand usage terms and copyright standards. If the work would be fun for your portfolio and you can consider it a paid test, it might be worth it. I would also respond with a general range of your day-rate fees to see if they respond.

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 optimize your website for SEO and use Google Analytics to see where the traffic is coming from. 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:

I’m new to the photo world and would love to make this my full-time job. I’m a little older, and I’m afraid this can be challenging as it seems like a young business. Any tips on how to “break in?”

A:

The image-making world is ever-changing, so we don’t have rules or guidelines beyond having work that’s similar in style, enticing potential clients to imagine you putting your look/style on their product. Age is not the ultimate factor; clients want to see examples that speak to them within a budget they can afford. My suggestion is to work your way in personally with a one-on-one, personalized connection to “open the door” in a more “small town” type of connective way.

Q:

When you say bring the client’s branding into the treatment, do you mean their overall visual language/aesthetic or their actual branding, like their logo, etc.?

A:

Your treatment is all about having the client feel like you “get them.” You are what they’ve been looking for to bring their idea to life! Use every way you can to translate this; it is your opportunity to speak their language with their logo in the titles, and their colors styled aesthetically throughout.