How do I know what to charge for interior shoots? The scale of projects is all over the place.
A:
Our industry doesn’t have a set rate structure, so pricing can feel like a guessing game. Rates are generally based on usage licensing terms, the size of the company hiring us, and our experience in the various 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.
Do you always expect clients to negotiate? Or do they just walk away sometimes if the price is automatically too high?
A:
Unfortunately, clients walk away for so many reasons beyond our control. I like to feel out the situation to hear the temperature of their response before fully committing to a price. Odds are more in our favor if we can create a human connection off the bat, helping us open the doors of communication. The conversation can include the openness to flexibility by discussing a price range before we officially submit an estimate. If clients know we are willing to budge, they may be more apt to negotiate.
Do you suggest always requesting a 50% advance? If so, what’s the best way to ask for it?
A:
Yes. Always include a request for an advance in your estimate, so it’s in writing once the estimate is approved. I use simple language like, “50% of total due prior to beginning of shoot.” If they ask for a different amount and it’s reasonable, that’s fine with me. I just need a legal guarantee that my photographers will be paid. I’d be scared to work without that reassurance.
Have you found a way to justify licensing images for social media platforms for small restaurants? Is this even a thing for businesses notorious for thin margins?
A:
Licensing images is needed for any usage, regardless of the budget or size of the business. What if that restaurant grows, or what if they share their images with other restaurants? Always make sure the contract is clear, and specifically show them how they can use the images only on social media (paid or owned platforms). We never know what will happen in the future, so it’s important to always protect yourself.
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.
Negotiation begins with knowing where you stand. When we are in the secure position of the client needing our images, we can use that to our advantage. Of course, we want to play a fair game, but to get to the best, most reasonable price – I use the ‘start high’ approach, giving me space to come down to meet their best price. Remember, we can never raise our prices; we can only lower them when negotiating.
Negotiation skills are so important, particularly when dealing with clients who require usage rights for images or other creative work. Start negotiations with a high asking price to maximize potential earnings, especially when the photographer has a unique position or exclusive rights. By setting a high initial figure, the photographer creates room for negotiation, allowing for a back-and-forth dialogue that can ultimately lead to a more favorable outcome. Photographers should view the high starting price as a strategic move rather than a fixed position, emphasizing the need for flexibility during negotiations. The underlying principle is to ensure that photographers do not undersell their worth and to capitalize on their unique offerings in the market.
This is a valuable guide for anyone involved in negotiations, especially in creative industries. Starting high, understanding one’s worth, and maintaining flexibility throughout the negotiation process provides a strategic framework for achieving better outcomes. By preparing adequately and recognizing the power dynamics at play, sellers can enhance their negotiation skills and ultimately secure more favorable terms in their agreements. Negotiation is not merely a transactional process; it’s an art form that requires insight, preparation, and adaptability.
Learning why we DID NOT get the job can be the most value-packed free resource, and I’m surprised by how available it is to us if we ask. With a bit of timely follow-through, we could potentially receive the clear strategic feedback every business needs.
I’m finding that we can get more information about why we didn’t get certain jobs if we put some effort into asking. It’s strange, but for some reason, clients seem more open to sharing the specific reasons why we weren’t selected. We just have to ask them and make sure we pose the question. It’s not that hard; we just need to put ourselves out there.
I have been working with a start-up fashion magazine, and the chief editor agreed for me to photograph her arranged fashion shoots for experience and portfolio work. However, the problem is that when I turn in my edited photos to her, she often retouches them over my finished edits. She then posts this and tags me in the photos. I hate this and don’t know how to get her to stop.
A:
I’ve heard all types of photographers get upset about this topic where clients change the final retouched images. In my business, we cannot control clients from retouching images as they like. We may demand that we do the retouching in-house, but all of this must be agreed upon before the job estimate is approved. We can control whether we grant permission for the client to tag the photographer’s name or not.
