Monday Q+A

Q:

Wait…so on one hand we’re supposed to stick to shooting what we love rather than trying to chase trends, but on the other hand we have to keep reinventing ourselves?

A:

I know this is a tricky situation that all photographers face to stay fresh in our business. Reinventing means growth. That growth happens within your own style. Some ways to do this: diversify the look of the talent, add props, change up the location, etc. Expand to constantly push yourself while staying within the cohesive feeling of your portfolio.

Q:

Is it pointless to market yourself as a generalist? I shoot a lot of architecture, but also people and some products.

A:

Being a generalist and shooting a bit of everything is definitely a more difficult marketing path for any photographer. I find this can work in smaller locations or if the photographer has a lot of personal friendships with their clients.

Q:

What is the difference between an Art Producer and a Print Producer? And when sending promos who precisely should I target?

A:

An art producer is the same as an art buyer, just a new term that sums up their role more accurately. If an agency has an art producer then I’d skip their print producers who often have nothing to do with choosing photographers. The only reason I’d contact a print producer is if the agency does not have an art producer, because then they are most likely doing both jobs. Definitely send promos to all levels of Art Producers (or art buyers). A print producer is the person who gets the image ready to go to print.

Q:

What is the standard day rate for a photographer?

A:

The standard day rate, creative fee, or per shot assignment fee for a photographer depends on the industry they are in. I hear editorial is $500 per day unless it’s a magazine cover. Commercial advertising can run the gamut usually starting at $3,500, up to $6,500 or even around $15k for big jobs.

Also, factor location scouting, prep days, travel days and overseeing post production rates into that rate. And then remember to factor in all the costs of each industry.

Unfortunately there is no clear answer here but there are some great resources to reference. Those are noted below. 

Resources available for pricing help: visit @aphotoeditor online for pricing and bidding help, they feature sample estimates

@wonderfulmachine is also great and can step in and help with estimates. 

You can also always reach out to a photo agent with questions and we are often happy to hop on a job with you and negotiate your rates. Send industry related questions to [email protected].

Q:

Did a bad estimate ever lose a photographer the job?

A:

Guest Post, Mara Serdans: Yes, absolutely, If I feel like a photographer did not understand the scope or properly estimate the job, I let my team know that it could be a risk. I also let the photographer and/or agent know so they can learn from the experience. 

Guest Post: Creative Consultant, Mara Serdans

www.MaraSerdans.com

Q:

Right now we send print mailers to approx 500 people 3-4 times per year. At what point should we remove someone from the print mailing list if we haven’t received a response after maining, emailing and calling on multiple occasions?

A:

Continuously fine tune your list to match the images you are sending, and update it as people move around. Not getting a response is not the problem. In our business we have no idea when our promos are working because the norm is not to get a response. So update constantly but not for that reason.

Q:

Are there any specific stories around why you didn’t put a specific photographer up for a job?

A:

Guest Post, Mara Serdans: More often than not, I won’t put a specific photographer up for a job because he/she is not an appropriate fit for the project. It may also come down to budget – if I know a photographer is not within the ballpark, it’s a waste of everyone’s time to put him/her in the mix. Lastly, it might come down to having a bad experience from a previous job or a difficult agent who makes things harder than they should be for myself, the internal team and the client. No one wants to work with someone who is “difficult.”

Guest Post: Creative Consultant, Mara Serdans

www.MaraSerdans.com

Q:

Do you find yourself having to turn jobs away because budgets are too small or do you make it work? If your photographers are in a slow period does that affect your decision?

A:

I do find that requests with smaller budgets happen sometimes. The decision whether or not to take the job in part depends on whether the budget is going to negatively affect the quality of their work. If a budget doesn’t support getting a great image then I don’t recommend that they do the job. 

The ideal situation for a lower budget job is if it’s going to be great for their portfolio, then it’s essentially a paid test and is worth it. And yes, a slower period does affect our decision and inspires us more to take the job.

Q:

How soon after sending promos is it ok to follow up?

A:

Follow up with the recipients immediately or within a few days. We are all inundated with images so we forget quickly. Our business is based on short term memory.

Q:

How do you find new photographers? Specific websites?

A:

Guest Post, Mara Serdans: I get lots of emails and promos from photographers. Otherwise, I find new photographers on Instagram, at portfolio reviews, blogs, magazines and at gallery shows. I peruse directories like At-Edge, Workbook, and Found Folios. I love checking out PDN’s Annual listing of New and Emerging Photographers. I’ll even go back to the previous years’ listings to remind myself of the talent. 

Guest Post: Creative Consultant, Mara Serdans

www.MaraSerdans.com