Monday Q+A

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.

Q:

What do you do for your photographers when you have a second or third hold on a job trying to confirm, but the money is better on the one unconfirmed? What is the hold protocol? We haven’t heard much from others about how to handle holds, etc. Thanks Andrea!

A:

 I always use honesty for holding photographer’s dates by letting the clients know when we have others also asking about those same dates. A good general way to respond is, “As of right now I, am available those dates.” You also have the ability to encourage the client with the better budget to move quickly by letting them know you have a second hold and that someone else wants to officially book you.

Q:

Is it standard to charge for every additional shot taken rather than a grouping of images? I’m trying to avoid wasting time with the “just shoot these extra options” and clients not selecting those images.

A:

Clients will ask for and take as many images as we let them, and I don’t blame them for that. It’s their job. We must clarify by setting financial restrictions on our estimate before we get on set. When bidding, my first question is how many images are needed, and then I set up the estimate precisely around that. When I hear “library” of images, meaning as many as can be finished per-day, I set the fees higher for those shoot days.

Q:

 Is it appropriate to send a thank-you gift to an agency that hired me to shoot a campaign?

A:

This is a tricky one, as some agencies are fine with receiving a thank-you gift while others are not. I recommend asking them first, or even better, asking someone else at the agency you know, so you can still surprise your contact. Either way, it’s best to ask first, unless it’s something inexpensive like a basket of treats. A handwritten thank-you card is also a great way to show sincere appreciation. 

Q:

You mention portfolio shows often, but I’m not sure how to set them up or make them happen. I know some companies offer them, but I’ve also heard stories of them being a waste of money, with no jobs coming from them and not being taken seriously by the viewers. Any advice?

A:

Portfolio showings are one of the few marketing options that put us in the driver’s seat. It’s difficult to grab a client’s attention, but if we have 10 minutes of their focused time, it’s invaluable. The key is to choose the right potential clients. How many portfolio showings actually feature the right clients for us? That’s the real question.