Monday Q+A

Q:

Once a photographer secures a rep, can we feel relieved, knowing that the rep will secure work for us regularly, like once a month or more? I believe this is an essential question since photography is a precarious profession, and I’m curious if representation can mitigate this. 

A:

Simple answer: NO

Think of it like this: a rep can open doors, but it will still be you, with your same portfolio showing up to those meetings. 

We have the contacts, and you have the goods. The question is more about what are you needing to land the jobs? Is the answer something where a rep can help you grow your portfolio and make you more findable or credible with exposure? Figuring this out before you look for a rep may help you not waste any time determining the right path for you. 

Q:

I’m putting together an estimate for a corporate shoot. I usually charge for travel days, should I also have a line item for crew travel days, or is that something I should be covering? Any advice?

A:

Bidding is all about finessing what gets you the most gain while still getting the job. Crew costs are within the production expenses, including all their prep, post, and overtime. If being hired as a local helps your odds of getting the job, you can stash a little extra in your equipment instead of calling out “travel” costs. 

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:

On a local Instagram Influencer photoshoot, I allowed the local hotel to use the image on their Instagram feed only and made it clear that any other use would incur usage fees. I recently found another property under the same corporate chain using the image and tagged the Influencer. Was my consent to have the local hotel use it on their social media my mistake since they are a smaller hotel owned by a larger global hotel chain?

A:

Influencer social media posts lead to unclear third-party usage that we should be getting paid for. I’ve temp-repped these situations by explaining to the negligent part how licensing needs to be granted by the photographer and not the Influencer. The challenge for us is we have Influencers giving away our usage rights as they often believe they own the images. Originally our terms need to be clearly stated on a signed estimate and explained, so all parties are clear. After that, we can go after them to get paid, which is often a process of educating everyone involved. One company I’ve heard to help photographers get paid for their images used without permission is https://pixsy.com.

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.

Q:

I’ve been thinking of reaching out to agencies, local and international, to get represented.

Do you maybe have any tips on how to do this? I don’t want to make a bad first impression with a terribly worded email.

A:

Good point! Don’t be too “worded.” If you are repped and looking for a change, you can be honest about that. If you have not been repped and are on the business’s newer side, keep it short because reps know what you are saying. It’s not easy to say no, so email a question or relatable topic to encourage building a relationship vs. needing us to spend time figuring out how to say no creatively. Us reps know what you are saying, and if we are interested, we will accept talking further. We are happy to see a quick rundown of your situation, giving us a sense of the kind and confident person you are, but the more you say to us, the more we don’t read what you are saying. Make it easy for a rep who gets many of these emails a day.

Q:

I always put the terms “excluding outdoor and broadcast” on my estimates and invoices. Now a client wants to use the images for Broadcast. Do you have a rough idea of what Broadcast usage would be? What does Getty quote for it?

A:

The only reason to fill the usage terms of what is excluded would be to educate a client who may not know much about licensing rights or as a teaser to encourage them to use it for OOH or Broadcast. Legally, they can only use it for what you are granting them. Getty may have something you can look at on their site, but I don’t use it. All fees are random as there is no set amount for Broadcast or others. I’ve seen fees go across the board, so I hate to rely on one set of numbers. Broadcast is large, so you can double or triple what they paid in usage for the other usage. I find negotiating tactics are the real answer to these questions because it depends on the client’s budget.

Q:

Here’s one for you! Sometimes I wonder how much personal work I should share on Instagram. I feel it occasionally adds a pop of color or style to my feed, mixed in with my client work. But I don’t want to overdo it. Hmmm.

A:

Your apprehensive response is correct. At the moment, your Instagram feed may feel like a daily update, but you have to approach this as your long-term business referral selling point. You don’t want to overdo the personal work in your feed, as the timely or obscure twist could work against the quick, powerful read of what you will bring to a project.

Q:

Do you think the purpose of the Creative Call is to give a verbal and preliminary treatment to clients before the actual treatment?

A:

Yes, the creative call is when we introduce our verbal treatment, noticing the back and forth reactions sparked by the hot topics clients want to discuss. We use this call to monitor how the 2-way conversation flows, giving us a more concise roadmap to our treatment.

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.