On Set

On a shoot, never share your stress with your client. Talk to your rep or someone else.

Q:

Thanks for your OVERTIME post for photographers;  do you also see OT charges for producers? Never once in my career have I charged OT for me. Have I been shorting myself all these years??! In my experience, the Photog and Producer are the last to get paid and never get OT. I hope I am wrong.

A:

I’m with you. This is a new one for me, but I’m noticing some producers (and photographers) now charge for overtime. Some (or most) clients will reject this, but if some accept it – we should all try it and go for it! Perhaps it’s a new norm, so let’s join the OT trend and get paid fairly for your time over 10 hours. 

Put this in our business toolkit: 

In the midst of crazy production, the human element cuts right through it and can speak volumes. Impress our crew + clients with sincere kindness during stressful intensity to make the best of it and create a lasting impression. 

Q:

I am experiencing out-of-control clients requesting added or changed images as we are shooting, missing detailed composition into not included in the brief, and even complaining about actual details they didn’t want to see after I light their props – it’s crazy how uneducated these clients are! How do I handle this?

A:

The multi-parted answer to keeping the calm with out-of-control clients is all about covering yourself before any craziness begins. 

1. Have your estimate terms & conditions signed to protect you legally. 
2. Break out the job details step by step by covering the costs, what is included/not included, what the client will provide, including timeline and specific dates. 
3. It’s a good idea to submit a calendar schedule backing up the estimate line items clearly showing the expected dates. 
4. Best to have a producer on board to handle the clear communication, allowing you to focus on what you do best. 
5. A pre-production call is important to go over the step-by-step process, limiting any unknown surprises. 
6. Do not begin production and incur any costs without the advance payment of at least 50% of the total upfront. 
7. Do not hand over the final images until you have deposited the final payment. 

Just like companies cannot make money off of photographer’s art without their permission, the same goes for any recognizable art that we may not even realize has copyright ownership. I was on a call discussing casting, and we were warned against using talent with tattoos because we would need permission from the artist. Recognizable public artwork on buildings or bodies without usage agreements has caused legal problems that we don’t want to get entangled with.

There’s something you need to be careful about that you might not know. I was on a call about a job, and they discussed an important issue to be extremely aware of: graffiti, tattoos, and wall art of any kind. As an artist, you have policies for your own images, and so do other artists. It’s not easy to find these artists to pay them or get an agreement from them, so be very cautious.

You might be able to alter these elements in your retouching and post-work to make them non-recognizable, but beware—there could be legal issues and potential costs if you don’t handle this correctly. It could become problematic, so stay aware of this.

Make sure you are clear and cover yourself with all crew and talent on a photoshoot that you own the images, and no one is allowed to grant usage to anyone on Instagram without your permission. 

Don’t assume they know the copyright laws; that is your job.

Navigating the Unknown Episode 10 is now live on YouTube! This week we talk about what it’s like to shoot now with Photographer Caleb Kuhl + Producer Luigi F Rossi, who have both worked on large commercial productions in the midst of COVID-19. 

Guests:

Caleb Kuhl – Photographer https://www.calebkuhl.com/

Luigi F Rossi – NYC Producer https://www.luigirossi.tv/

Navigating the Unknown is a Q&A series in collaboration with APA-LA where we speak to different members of the photo community about all aspects of the commercial photography business. https://la.apanational.org/

With Co-Host: Photographer Hugh Kretschmer https://www.hughkretschmer.net/

Navigating the Unknown Episode 6 is now live on YouTube! This week we speak to Senior Art Producer Emily Hoskins and Creative Director Jason Pierce about staying relevant and adapting to new scenarios regarding production. 

Guests:

Emily Hoskins – Senior Art Producer, Designory

Jason Pierce – Creative Director, Crispin Porter Bogusky

Navigating the Unknown is a Q&A series in collaboration with APA-LA where we speak to different members of the photo community about all aspects of the commercial photography business. https://la.apanational.org/

With Co-Host: Photographer Hugh Kretschmer https://www.hughkretschmer.net/

Navigating the Unknown Episode 5 is now live on YouTube! This week we speak to Senior Art Producer Clarissa Garrett and Senior Producer Sandra Sanchez about deciphering and designing marketing and production in the time of COVID. 

Guests: 

Clarissa Garrett – Senior Art Producer, 72andSunny

Sandra Sanchez – Senior Producer, FCB Chicago

Navigating the Unknown is a Q&A series in collaboration with APA-LA where we speak to different members of the photo community about all aspects of the commercial photography business. https://la.apanational.org/

With Co-Host: Photographer Hugh Kretschmer https://www.hughkretschmer.net/

On a job, when stuff goes down, stay steady + handle it like a pro. Being professional means not personally defensively reacting, but listening instead, as you are objectively gathering information. 

Most likely it will blow over even though in the moment it feels alarming. Be objective.

Jobs will always come with some drama. You need to handle it like a pro; it’s your test to see if they’ll hire you again. I understand that it’s easy to take things personally sometimes, but don’t let that show. Be a constant professional and a source of calm. Listen to people, check on them if something seems off, and ask questions to understand what’s going on. Be the person who holds the shoot together instead of becoming part of the drama.