Monday Q+A

Q:

I am always hearing you should only show the same style of work and focus on that. The thing is, I love shooting many different ways and with different moods. Is that a bad thing to showcase a wide variety of work?

A:

This depends mostly on whether you live in a small or large city. The larger the city you are in, the more you will really need to hone in on your look + specialty. You are more likely to be able to get away with shooting a lot of things in a smaller city where there are fewer photographers and there may be a need for someone who is more of a generalist. Overall, something cohesive should be in all of your images, as your portfolio is the core of your branding.

Q:

How do you know when your book is strong enough to start marketing to potential clients? I’ve heard you only get one shot and only one first impression.

A:

You get more than one shot because clients in larger cities changeover often. When a client sees potential in your book they will often want to witness where you take it and be the one to help launch your career. Your book is strong enough when you start bidding on jobs.

Q:

Do you separate usage on estimates or do you combine it with the creative fee into one large number? If you are just using one number, are you breaking out additional image licensing costs if a client wants more than the initial ask?

A:

Some people break out and separate from the creative fee, but I have found this can get lowered too easily through shot count changes during bidding. I find it easier to include usage in one creative fee amount for that reason. I am breaking out optional additional usage if they ask for it.

Q:

Should photographers watermark images on their website?

A:

Photographers should not watermark their images on their website. It ruins the experience of seeing the image.

Q:

What’s the best advice you can give a photographer who is seeking representation?

A:

Best advice to find a rep is to email the reps that interest you. All we want to do is check out your website. If you know people in the business you can ask around and get the word out there that you are looking.

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