By Bryan Sheffield, Wonderful Machine

Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: Architecture/Interiors and Brand Narrative content of an upscale medical center’s treatment facility in an affluent area of a major U.S. city

Licensing: Perpetual, Unlimited Use (excluding Broadcast) of up to 35 images

Photographer/Director: Architecture and Interiors specialist

Agency: High-end Public Relations Agency

Client: Medical Center

Summary

I recently helped a photographer build an estimate for a client seeking brand narrative and architecture/interiors photography of their upscale medical center and specialized treatment facility.

The client brief described atmospheric interiors, and stylized content of the location for use in the brand’s marketing and advertising efforts. The shot list consisted of 35 images created through eight unique set-ups within the location. The final use of the photography was described as client web and social placements, as well as advertising within trade and select consumer publications. We called this Unlimited use (excluding Broadcast).

The client wanted to handle all the location coordination, location styling, employee/staff talent and talent coordination, wardrobe/hair/makeup styling, crew meals and crafty. Therefore, we included a Client Provisionssection within the Job Description to note who would be handling these items.

Here is the estimate:

Fees

The client had a prescribed shot list of what they wanted to capture. And so, based on the client, our budget range conversations with the PR agency, and the intended content use, I advised a Creative/Licensing fee of $12,000 for up to 35 images. This equated to $2,500/day for the shoot and an additional $9,500 ($271/image) licensing fee. The photographer was happy with the suggested fee and we were both under the assumption that only a handful of images would be used within any paid placements. It should be noted that this fee was significantly higher than other Architecture/Interiors projects the photographer had worked on (albeit those licenses were mostly only for Collateral and Publicity use), and the photographer was initially apprehensive about the fees total, based on the rates of their competition.

Our estimate included a line stating the cost of additional images to be $1,250/each (including up to one hour of retouching). This additional image fee was purposely created to be significantly higher than the other images. I also added $750 for the photographer to scout the location in advance of the shoot.

Crew

We added a First Assistant at $600/day for both the tech scout and shoot day. Then we added a Second Assistant on the shoot day for an additional hand with lighting and camera equipment management to help to expedite the day. In addition, we included a Digital Tech at $750/day. These fees were consistent with previous rates the photographer had paid their crew on past productions in this city.

Equipment

We included $1,400 for cameras, lighting, and grip rentals. This would all go to the photographer as they anticipated bringing their own cameras, lenses, and basic lighting kit. Another $650/day was then added for the digital workstation rental. Finally, we also included a line for hard drives at $0 to be included with the production. We have found it always helpful to note items to be included, even if $0, to let the client know the photographer is considering all needs, and in this case the need to back up the images on site.

Misc

For insurance, we included $450, and we added $325 to cover taxis, additional meals, and any unforeseen expenses.

Post-Production

The photographer would perform a First Edit for Client Review and deliver roughs to the client for $500. We also included a retouching fee for the 35 images at $100/hr. The photographer would be doing the retouching themselves, and this hourly rate is consistent with their previous projects.

Results

The photographer was awarded the project. The client loved the work and returned about a month later to license an additional image at $1,250. The final images are gorgeous, and are currently in use on both the client’s web/social pages and the photographer’s portfolio!

Follow our Consultants @wonderful_at_work.

By Bryan Sheffield, Wonderful Machine

Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: Architecture/Interiors and Brand Narrative content of an upscale medical center’s treatment facility in an affluent area of a major U.S. city

Licensing: Perpetual, Unlimited Use (excluding Broadcast) of up to 35 images

Photographer/Director: Architecture and Interiors specialist

Agency: High-end Public Relations Agency

Client: Medical Center

Summary

I recently helped a photographer build an estimate for a client seeking brand narrative and architecture/interiors photography of their upscale medical center and specialized treatment facility.

The client brief described atmospheric interiors, and stylized content of the location for use in the brand’s marketing and advertising efforts. The shot list consisted of 35 images created through eight unique set-ups within the location. The final use of the photography was described as client web and social placements, as well as advertising within trade and select consumer publications. We called this Unlimited use (excluding Broadcast).

The client wanted to handle all the location coordination, location styling, employee/staff talent and talent coordination, wardrobe/hair/makeup styling, crew meals and crafty. Therefore, we included a Client Provisionssection within the Job Description to note who would be handling these items.

Here is the estimate:

Fees

The client had a prescribed shot list of what they wanted to capture. And so, based on the client, our budget range conversations with the PR agency, and the intended content use, I advised a Creative/Licensing fee of $12,000 for up to 35 images. This equated to $2,500/day for the shoot and an additional $9,500 ($271/image) licensing fee. The photographer was happy with the suggested fee and we were both under the assumption that only a handful of images would be used within any paid placements. It should be noted that this fee was significantly higher than other Architecture/Interiors projects the photographer had worked on (albeit those licenses were mostly only for Collateral and Publicity use), and the photographer was initially apprehensive about the fees total, based on the rates of their competition.

Our estimate included a line stating the cost of additional images to be $1,250/each (including up to one hour of retouching). This additional image fee was purposely created to be significantly higher than the other images. I also added $750 for the photographer to scout the location in advance of the shoot.

Crew

We added a First Assistant at $600/day for both the tech scout and shoot day. Then we added a Second Assistant on the shoot day for an additional hand with lighting and camera equipment management to help to expedite the day. In addition, we included a Digital Tech at $750/day. These fees were consistent with previous rates the photographer had paid their crew on past productions in this city.

Equipment

We included $1,400 for cameras, lighting, and grip rentals. This would all go to the photographer as they anticipated bringing their own cameras, lenses, and basic lighting kit. Another $650/day was then added for the digital workstation rental. Finally, we also included a line for hard drives at $0 to be included with the production. We have found it always helpful to note items to be included, even if $0, to let the client know the photographer is considering all needs, and in this case the need to back up the images on site.

Misc

For insurance, we included $450, and we added $325 to cover taxis, additional meals, and any unforeseen expenses.

Post-Production

The photographer would perform a First Edit for Client Review and deliver roughs to the client for $500. We also included a retouching fee for the 35 images at $100/hr. The photographer would be doing the retouching themselves, and this hourly rate is consistent with their previous projects.

Results

The photographer was awarded the project. The client loved the work and returned about a month later to license an additional image at $1,250. The final images are gorgeous, and are currently in use on both the client’s web/social pages and the photographer’s portfolio!

Follow our Consultants @wonderful_at_work.

By Bryan Sheffield, Wonderful Machine

Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Helping photographers build estimates is one of the primary functions of our producers. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: Images of a Consumer Health brand’s products being used by talent in multiple scenarios
Licensing: Unlimited use of all content captured for 4 years
Photographer/Director: Brand Narrative and Portraiture specialist with a portfolio of similar content
Agency: Medium-sized
Client: Consumer Health Care & Product Manufacturing Client owned by a large global pharmaceutical brand

Summary

I recently helped a photographer/director quote on and negotiate a project for a client seeking brand narrative content of doctors, technicians, and patients using their products.

The agency brief described photo and minor video lifestyle content of talent performing procedures within exam rooms, bathroom and bedroom home locations. The agency initially asked for an estimate including all production needs and 4 unique talent. The final use of the content would be client web and social, as well as consumer and trade publication advertising. The agency requested a 4 year Unlimited use license. They also made it clear multiple times that this was a formality for the brand and that they did not plan to use the images for OOH, Broadcast, nor POP. The agency intended to handle all retouching and video editing and asked us not to include quotes.

We included a Client Provisions section within the Job Description to note who would be handling these items as well as all products to be photographed.

Here is the estimate:

Fees

The client didn’t have a prescribed shot list per se, but they did have an idea of the multiple scenarios they wanted to capture. The photographer/director and I sketched out an anticipated schedule for the talent and time needed for each scene. We anticipated 2 shoot days with the 4 talent on each day. Based on the agency, client, and how they intended content use, I suggested the fees should be in the range of $22-30k. The agency did not disclose a budget, but I felt that they might have a $110,000-120,000 project budget range and we placed the fees at $28,000 for the 2 day shoot.

I added $1,000/day for the photographer to tech scout the location in advance of the shoot and 4 pre-pro days needed.

Crew

We added a videographer at $1,500 per shoot day. We also added a first assistant at $550/day, including the tech scout. A second assistant on the shoot days to help with lighting and camera equipment management was also added. We included a digital tech/media manager at $700/day. We included a producer for 8 days to help with the crew booking needs, schedule coordination, on-site time management, and catering. These fees were consistent with previous rates the photographer had paid crew on past productions in this location.

Equipment

We included $3,800 for cameras, lighting, and grip rentals. The photographer would bring their own cameras, lenses, and would rent continuous lighting, modifiers, stands, and sandbags from a local rental house. We added $650/day for the digital workstation rental. Then, $700 was also added for hard drives to back up the content. We included $2,200 for any miscellaneous production supplies such as production book printing, tables and chairs for meals, equipment transport, hard drive shipping, etc.

Locations

The photographer/director had a local warehouse/studio in mind for the project. The studio already had some sets built that we could easily transform to suit our creative needs. We included the quoted $800/day for the studio for 4 days to cover the build days/pre-light, and 2 shoot days. A studio location manager and cleaning fees were also needed for the location, and we noted these lines separately for agency information.

Casting & Talent

We included $2,500 to cast the 4 talent, $3,360 for talent use fees, and 8 daily session fees at $600/day per talent. These fees were quoted by a casting director in that region.

Styling Crew

We Included a wardrobe stylist and assistant for 5 days each, plus an estimated $3,500 for wardrobe costs. A combo hair/makeup stylist and assistant was necessary and included. Last, we also included a prop stylist and assistant for 5 days each, plus $4,500 for anticipated prop costs.

Meals

We included $3,250 to cover meals and Craft Services for the anticipated folks on set.

Misc.

We included $1,400 for insurance to supplement the photographer’s liability and Workers’ Comp policies.

Post-Production

We added $1,000 for the photographer/director to perform a First Edit for Client Review and deliver all content to the agency on a hard drive.

Initial Results

We heard back from the agency about 2 weeks later that their client wanted to move ahead with the project but had a budget of roughly $95,000. The request was “Can you make this work for $95k? What do we need to sacrifice in order to reduce the estimate to $95k?”

I suggested that we could reduce the creative and talent fees if we reduced the duration of use to 2 years. The agency was receptive to this and asked to see those costs in an updated estimate. The agency also was kind enough to reduce their on-set headcount.

Revised Estimate

Fees

With the new use duration in mind, I suggested the fees should be in the range of $16-18k. The photographer agreed to place the fees at $16,000 for the 2 year use. Our estimate included a Licensing Options line stating the cost of extending the use to 4 years for an additional $12,000 + $1,800 per each talent. If you’re following the math, this would bring the photog’s fees to the same amount as the 4 year license estimate and increase the talent use fees a little bit.

Meals

We included $2,730 to cover meals and Craft Services for the updated headcount on set.

Everything else stayed the same on the revised estimate.

Results

The photographer/director was awarded the project, and the production was a big success. The photographer/director was very thankful for the help and just sent me a link to view their edit of the project. I’m always very appreciative when I get to see the final work that a photographer is proud of!

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If you have any questions, or if you need help estimating or producing a project, please reach out. We’re available to help with any and all pricing and negotiating needs— from small stock sales to large ad campaigns.

By Craig Oppenheimer, Wonderful Machine

Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Helping photographers build estimates is one of the primary functions of our producers. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: Images of athletes wearing branded apparel playing a sport
Licensing: Unlimited use of up to 16 images in perpetuity
Photographer: Portraiture specialist
Client: Athletic brand

Summary

I recently helped a photographer build an estimate for an athletic brand. From the start, we knew there was a discrepancy between the client’s requested use and their intended use. They asked for unlimited use of 16 images in perpetuity. However, based on the concept and creative brief, it was very clear that the campaign had a shelf life of one year.

Fees

The photographer had an excellent working relationship with this client. We took this into consideration and decided to price their fee more in line with the value of their intended usage duration despite granting them their requested perpetual duration. I initially based the fee on $750/image for 16 images and added $3,000 as a creative fee for the photographer which totaled $15,000. We knew, based on our previous experiences with the client, that this number would be generally palatable.

Crew

We included an appropriate number of helping hands for the photographer in the budget. We would need a producer, who would travel in for the production, two production assistants, a digital tech, and two assistants, who were all hired at rates appropriate for this market. The multiple days for the first assistant and production assistants would cover their pre-production time leading up to the shoot day.

Styling

For this production, we’d be creating an athletic scenario with professional talent. In order to pull this off, we’d need a dream team of stylists to make everyone and everything look awesome. We included a hair/makeup stylist with their assistant for the shoot day to cover five talent. We also budgeted for appropriate shopping, shooting and wrap time for a wardrobe stylist along with their assistant. In total, we anticipated $2,500 in wardrobe to outfit all five subjects. Although we’d primarily be working with the materials at the location, we included a prop stylist to source supplemental items to enhance what we would find on site. We included a $1,500 budget for those items. We also included miscellaneous expenses to cover kit fees, mileage, and extra items related to sourcing the wardrobe and props.

Casting and Talent

In order to find the appropriate talent for the production we knew we would work with a local casting agent. We included their anticipated fee to coordinate both video and still submissions of professional talent, based on specific demographics provided by the client, who also happened to be athletes. The talent session fees were separated from their usage fees, and included appropriate rates for the market as discussed with our casting director.

We capped the usage for the talent at 3 years for two reasons. First, it was necessary to keep the budget in check. Second, many talent agents won’t accept perpetual usage terms. It’s not uncommon for there to be a difference between the usage granted by the photographer, and the more limited usage being granted for the talent in an effort to keep the bottom line reasonable. Oftentimes, however, this detail requires some explanation to clients who don’t understand the nuances of the photography industry.

Locations

We included five days for our location scout to help find the perfect spot. Our location scout would join us on both the tech/scout day and shoot day, where they would manage the relationship between our production and the property owners. This fee was initially appropriate to find an athletic facility that supported the creative brief.

Equipment

We included expenses for cameras, grip, and lighting, as well as a digital tech workstation and production supplies, such as coolers, tents, tables, walkies, etc., based on the going rates from a local equipment company.

Vehicles

While it was possible that the location might have a staging area, we didn’t want to risk it, so we included an RV to ensure we had air conditioning and a private styling area. We also included a van rental to help with picking up and returning equipment and/or personnel.

Meals

I based this on $75 per person.

Miscellaneous

We included a few thousand dollars to cover any unforeseen expenses that might arise, and to account for the insurance coverage the photographer would be providing.

Post Production

We included $500 for the photographer to do an initial rough edit for the client to review and then included $450/image for 16 images for the retouching.

Feedback

After reviewing our estimate, the client told us that they needed to get the bottom line closer to $100k, and we jumped on a call to discuss concessions they’d be willing to make in order to lower the bottom line. I learned they could lower the talent count from five to four, they’d be willing to provide just about all of the wardrobe, they could reduce the image count from 16 to 14, and they’d be willing to limit the usage duration (for both the images and talent) to one year instead of perpetual use.

However, we also found out that the client had one particular location in mind, which happened to come with a significant fee and would require some overtime for the crew to drive there and back in a single day. We made the appropriate revisions based on those notes, while tightening the screws on other items as well to get as close to $100k as we could, and submitted this estimate:

Results

The photographer was awarded the project.

Follow our Consultants @wonderful_at_work.

By Andrew Souders, Wonderful Machine

Each month, we pick a recent estimate to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: One-day stills shoot documenting a high-profile fashion event.
Licensing: Publicity and Collateral use of up to 50 images for 2 years.
Photographer: Documentary and Portraiture Specialist.
Client: High-End European Fashion Brand.

Summary

I recently helped a photographer build an estimate for a well-known European luxury fashion client. The creative brief entailed covering the brand’s event at a location in the southwestern U.S. The images needed to showcase the brand’s products and apparel in a runway show as well as other participants and guests in attendance. The intended use of the images would be primarily for internal Collateral needs, but also Publicity use, servicing the publications covering the event — including print and digital stories in a handful of editorial fashion/lifestyle publications, with a usage duration of 2 years.

We were informed by our client contact that airfare/transportation would be arranged for the photographer, but that we should budget for travel and scout day fees in the estimate. In addition, we were asked to provide up to 50 selects from the event, along with a request for rush delivery of up to 20 images on the same day of the shoot, with the remainder being finalized and delivered the following week.

We included a note that the client must handle airfare, car rental/local transportation, locations, and location coordination. Additionally, the client was responsible for providing the subjects to be photographed and any necessary subject/talent coordination, hair/makeup/wardrobe styling, meals, and any photo releases.

Fees

Typical corporate event coverage might go for around $2,500/day. But, given the prominence of the event and the client, we expected a higher level of expectation placed on the photographer and the photos would likely see wider use. Because of this, I placed the fee at $4,000 and felt this was a reasonable ask even for the narrow use.

Anticipating the need for brief air travel, we budgeted the estimate to include 2 travel days at $500 each. We might normally see a client anticipate a combined travel/scout day here, but in this scenario, they requested a dedicated tech/scout day at the venue so I included an additional $500 for it.

Crew

Since the event photography needs were relatively straightforward and wouldn’t require much in the way of lighting or other equipment management, the photographer was fine with excluding the need for any crew in this scenario.

Equipment

We included a $350 expense for the photographer to travel with his kit of cameras, lenses, and a digital workstation, knowing that he wanted to remain light and mobile during the event without the need to haul around too much equipment. We also included a TBD line item for the purchase of any hard drives/file storage anticipating the possibility of handing over a drive of selects to the client at the end of the shoot day.

Travel

The client informed us that they would cover the photographer’s airfare, baggage fees, and any necessary ground transportation for the trip to the venue. Beyond that, we chose to include $1,050 for 3 lodging stays near the venue, taking into consideration slightly higher rates during this time of year at the shoot location.

Miscellaneous

We decided to absorb the insurance costs for the shoot but included $150 for miscellaneous needs like expendables and supplies, or any parking, tolls, etc.

Post-Production

We included a first edit to allow the client to review and make selects from, bundling in a rush delivery fee for up to 20 same-day selects for $500. Additionally, we added $1,000 for the photographer to provide color correction and basic file cleanup for the images, as well as delivery of the remainder of the selects after the photographer returned home.

Results

The photographer was awarded the project, and reported back later to let us know that the shoot went great!

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By Bryan Sheffield, Wonderful Machine

Concept: Stylized Still Life photography and videography, as well as images of the product being used.
Licensing: 2 years of E-Commerce and Web Collateral of all content captured.
Photographer: Product specialist.
Agency: Medium-sized US-based agency.
Client: Specialized hair care product manufacturing client.

Summary

I recently helped a Photographer/Director build an estimate, along with navigating and negotiating a project with a marketing/advertising agency seeking stills and video for a campaign they were creating for their specialized hair care product client.

The creative brief from the agency described the still-life content of a new product. They wanted the images/video to feature the product being used on set. The idea for the settings consisted of colorful and minimalistic bathroom and bedroom mirrors. The content needed to feature talent applying the product to their hair. The final use of the content was described as web and social placements, as well as “eComm” use on the client’s and select retailer’s websites.

Our creative calls with the agency left us feeling like this project was not yet greenlit by the client. This was because they had so few details to share. Instead of quoting on an actual project, it seemed as though the agency was asking us for a quote which they would then present to their client as they were proposing the work to be created.

I was clear with the photographer that I have seen cases like this become a game of revisions and sometimes “how low can we get the costs while still maintaining the creative needs.” The Photographer/Director was on board and we put our heads together to formulate a production plan. It included 1 pre-light day, 2 shoot days, the needed crew, and production support. We submitted our 1^st estimate based on the initial ask.

Fees

Based on the client, agency creative description, and shot list of 6 setups we intended to use, I felt that $14,000 would be in the mid-to-high range of what the client might be expecting to see. Depending on the brand, I have seen similar use license projects range between $4,000 and $14,000/day for all content captured. Because this shoot was for a single, limited audience product, $7,000/day was appropriate here, given the market and the client’s desire to work with this particular Photographer/Director. I added 4 pre-pro days at $1,000 each for the Director/Photographer for client and crew creative meetings, creative planning, as well as a pre-light day.

Crew

We added a DP/Camera Op at $2,000/day to run video capture while the photography was happening. We added 2 pre-pro days for the DP/Camera Op at $750/day. First and Second Assistants were included to help with lighting and camera equipment management. They would be needed on the pre-light day as well. We added a Digital Tech/Media Manager at $800/day to manage and display the content as it was being created. We added a Producer at $1,000/day, and a Production Assistant at $350/day. These fees were consistent with previous rates the Director/Photographer had paid their team on past productions in this city.

Equipment

We included $5,200 for cameras, lighting, and grip rentals. The Director/Photographer would bring their own still and video cameras, lenses, and lighting. They also intended to rent some supplemental continuous lighting, c-stands, and sandbags from a local rental house. $750/day was added for the Digital Tech’s workstation rental. We also included $850 for 3 large hard drives and $1,800 for TBD needed production supplies. This included production book printing, table/chair rental, heaters, wardrobe steamers, racks, etc.

Casting & Talent

We added usage fees and 2 daily session fees for two talent. Based on the limited info, but our assumed talent specs, we felt confident in a rate of $2,200 plus a 20% agency fee. We added $2,000 as a fee to cast the two talent. We also added 23% for talent payroll needs within the bottom line.

Styling Crew

We added a combo Hair/Makeup Stylist at $950/day. For our anticipated wardrobe styling needs we added a Wardrobe Stylist at $1,100/day, and an assistant for $500/day. We added $1,600 for the assumed 2 unique outfits per talent and marked this as TBD pending final creative direction. We added a Nail Stylist for both shoot days at $1,200/day. Based on our understanding of the set design and prop needs, we added a Prop Stylist at $1,200/day, as well as an assistant at $500/day. Props & Materials was estimated at $8,500 and marked with a TBD pending final creative needs.

Location/Studio

We included 3 days at a rented studio at $1,800/day.

Meals

We included $70/day per person for meals and craft services. Additionally, we added $500 for meals/craft services on the pre-light day.

Misc.

We included $1,800 for insurance and $1,600 for additional meals, expendables, and miscellaneous expenses.

Post Production

We added $750 for the Director/Photographer to perform a First Edit for Client Review and costs for retouching an estimated 30 images at $125/hour.

Providing a Second Estimate

The client stated that the estimate and treatment were received and that they would like to see a 2^nd estimate without production support and with the agency handling all talent and styling. We submitted a revised estimate the same day and then heard that they would circle back after reviewing it with their client. This estimating process then became quite involved as the agency team presented the project to the client and came back to us multiple times for revisions. Together we ended up creating 8 estimates for the project over 6 weeks. While a client requesting multiple estimate revisions is not unique, what made this process arduous was each new estimate requested was to be based on revised shot lists or agency-suggested ways to slim the bottom line. Our requests for budget parameters were never answered.

An Overview of Estimates

While it would be quite complicated to include each of the multiple estimates within this article, below is a high-level overview of each to demonstrate the project scope and cost changes:

1^st estimate above.

2^nd estimate — Client requested: No production support, talent and all styling would be handled by the agency. Our estimate was the above with the noted items removed and came out to $50,550.

Five weeks later, a 3^rd estimate was requested — Client requested: All production, 2 talent over 2 shoot days, all styling, adjusted shot list with retouching for 26 images. Our estimate was $111,870.00.

One day after the 3^rd estimate, we were asked for a 4^th estimate — Client requested: All included within 3^rdestimate, but no DP, no producer, the agency handling all art & props. This estimate was $75,270.

Two days later, 2 additional estimates were requested:

5^th estimate — Client requested: A 1-day shoot with no talent, no DP, no producer, agency handling art & props, a VERY revised shot list, and only 3 final images retouched. This estimate was $20,640.

6^th estimate — Client requested: A 2-day shoot with 2 talent on only 1 day, no DP, no producer, agency handling art & props, 12 images retouched. This estimate was $56,750.

The 7^th estimate request came three days later — Client requested: Increased shot list, 2 unidentifiable hand model talent, 1 pre-light, 2-day shoot, no DP, no producer, agency handling all art & props, and 30 images retouched. This estimate was $66,450.

The Final Estimate

The 8^th estimate (final) was sent the following day — Another revised shot list, 2 unidentifiable hand model talent, 1 pre-light day, 1-day shoot, no DP, no producer, agency handling all hair/makeup/props styling, and any video editing, 4 images retouched. In this instance, the agency did let us know that the project needed to be completed by a specific date that was about 2 weeks out. I let the agency know that to hit that date we would need approval and advance payment within 3 days and in order to expedite the process I requested a budget (again).

The agency let me know that they had $40k approved. We submitted an estimate of $40,658.40. While our estimate was a little above the agency-stated budget, our gut told us they would approve the costs since the estimate contained exactly what they requested and the pressure of a short window until the work was needed in hand.

Fees

Based on the work to be created and the noted project budget, $8,500 was an appropriate fee. I added 5 pre-pro days at $1,000 each for the Director/Photographer. This was not only to manage client and crew creative meetings and planning but to source and book all crew and studio needs, as well as their pre-light day fee.

Crew

We included First and Second Assistants for the pre-light days and a Digital Tech/Media Manager at $800/day. We added a Production Assistant at $350/day to help the Director/Photographer with bookings, equipment prep, shoot day catering/craft services, trash, and logistics.

Equipment

We included $3,100 for cameras, lighting, and grip rentals. The Director/Photographer would bring their own still and video cameras, lenses, and lighting. They also intended to rent some supplemental continuous lighting, stands, and sandbags from a local rental house. Moreover, $750/day was added for the Digital Tech’s workstation rental. Additionally, we included $850 for 3 large hard drives and $800 for TBD needed production supplies such as production book printing, table/chair rental, heaters, wardrobe steamers, racks, etc.

Casting & Talent

We added usage fees at $1,200 and $500 1-day session fees. Plus 20% agency fees for 2 non-recognizable hand model talent. Additionally, $1,500 was set as a fee to cast the two talent. The Director/Photographer and Production Assistant would do the casting. We added talent payroll fees within the bottom line at 23% of the total talent fees.

Styling Crew

The agency/client was to provide all hair/makeup/wardrobe styling. However, it was requested that we source and hire a Prop Assistant to aid them. So we quoted this at $500/day. We included $250 per talent as a stipend to get manicures prior to the shoot. Because there were so many estimates created, we made sure to clearly note the Styling Crew lines as “Agency Provided.”

Location/Studio

We included 2 days at a rented studio at $3,600/day and noted that this would include the anticipated cyclorama painting and cleaning fees.

Meals

We included $70/day per person for meals and craft services, as well as $200 for meals/craft services on the pre-light day. Moreover, our client/agency headcount increased by 1 person as well.

Misc.

We included $1,100 for insurance and $1,200 for additional meals, expendables, and miscellaneous expenses.

Post Production

We added $500 for the Director/Photographer to perform a First Edit for Client Review and costs for retouching up to 4 images at $125/hour.

Results

The Photographer/Director was awarded the project and the shoot was a success! The client was on set and loved the work being created. As we all can imagine, the on-set creative requests from the client kept coming on the shoot day. The Photographer/Director called me during the shoot and mentioned that, due to the client’s additional requests (and delays), they were anticipating 2 hours of overtime for the crew and studio. I worked to get these costs approved by the agency during the shoot and we included the overages in the balance invoice. After reviewing the content, the client loved the work and contracted the photographer to retouch an additional 21 images for $3,150 (1 hour per image x $150/hr).

Expanding & Extending Usage

About 2 weeks after final image delivery the agency reached out for costs to expand the 2-year use of the content. They requested usage for in-store POP and web/print advertising purposes (we called this Unlimited use excluding Broadcast), as well as cost estimates for both extending the previous eComm and Web Collateral use and the new request of Unlimited use excluding Broadcast in perpetuity. These new uses would entail new fees and agreements with our 2 talent. We negotiated fees with the talent agents and submitted the below cost estimates to the agency:

eComm and Web Collateral use in perpetuity. Additional fees:
$8,500 licensing fee
$2,880 Talent 1 use fee ($2,400 +20%)
$2,880 Talent 2 use fee ($2,400 +20%)

Unlimited use in perpetuity. Additional fees:
$14,000 licensing fee
$5,760 Talent 1 use fee ($4,800 +20%)
$5,760 Talent 2 use fee ($4,800 +20%)

Note

In our experience, it is tough to get talent agencies to agree to perpetual use. Especially for Unlimited perpetual use without a very high rate. Agencies do this to protect their clients from a company using their likeness years in the future when that client might be very recognizable if they become the next Cameron Diaz etc. Agents also limit the use duration often. This occurs for fear that their clients might not get booked for projects with competitor brands. In this case, neither of those scenarios was a factor since the talent was hand/hair models without recognizable faces.

With my advice, the Director/Photographer agreed to present a lower Unlimited use rate for themselves with the goal of selling that through to the client over the limited use in perpetuity. As of the writing of this article we have yet to hear back from the client/agency on their decision to expand or extend the use.

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By Bryan Sheffield, Wonderful Machine

Each month, we pick one of our recent estimates to write about in a Pricing & Negotiating article. Redacting the names of the photographer and client allows us to share valuable and educational information that would otherwise be confidential.

Concept: Brand Narrative & Architecture/Interior content of a Medical Equipment Manufacturer’s research, production, and treatment facility, featuring staff technicians, doctors, and patients.
Licensing: Exclusive Unlimited use in perpetuity of up to 30 images and up to 5 minutes of video.
Photographer/Director: Healthcare, Architecture, and Brand Narrative specialist.
Agency: None – client direct.
Client: Medical Equipment Manufacturing brand.

Summary

I recently helped a photographer/director build an estimate and negotiate a project for a client seeking brand narrative content of their doctors, technicians, and patients within their research, manufacturing, and treatment facility. Usually, this photographer/director creates their estimates on their own. However, they were busy with a multi-day project and reached out for help with the estimate and client conversations.

The client brief described the lifestyle content of their staff performing procedures within their modern research and treatment centers, as well as atmospheric interiors, and aerial content of the location exteriors and campus.

The final use of the images was described as client web and social placements as well as advertising within both consumer and trade publications. The client requested Exclusive Unlimited use of the final content. This all-encompassing license is something we see often with large corporations and their legal teams.

The shoot would be held at a client location about a three-and-a-half-hour drive from the photographer’s home. While there was a rough shot list presented, we suggested an advance location/tech scout to help flesh out the shot list with the client.

The client had let us know that they would be handling all location coordination, location styling, employee/staff talent, talent coordination, wardrobe/hair/makeup styling, and video editing. We then included a Client Provisions section within the Job Description to note who would handle these items.

Fees

The client didn’t have a prescribed shot list per se, but they had a general idea of what they wanted to capture. The client requested an estimate for a two-day shoot with “maybe 30 final images” and “3-5 minutes of video.” Based on the client and the intended content use, I initially advised the content licensing rate of $1,000/image and $5,500 for the video footage. Through subsequent conversations, we felt that the client might have a $60-70,000 project budget range and we placed the fees at $14,000/day. The photographer/director was comfortable with these fees as they were in line with previous projects they had done with similar clients.

This $28,000 fee would include 2 days of on-site content creation with use of up to 30 images and up to 5 minutes of video content. Our estimate included a line stating the cost of additional images to be $1,350/ea including up to 1 hour of retouching. I added $1,000 for the photographer to scout the location in advance of the shoot. In an attempt to be competitive and keep the bottom line lower (with the creative fees intact), we also included the photographer/director’s 4 travel days.

Crew

We added a Camera Operator at $1,600 per shoot day, and $750 per day for travel and tech scout days. The camera op would be traveling with the photographer, so 4 travel days were added. We also added a first assistant at $550/day including the tech scout. Additionally, we included a 2^nd assistant on the shoot days to help with lighting and camera equipment management. We included a Digital Tech/Media Manager at $750/day. We also included a Production Coordinator to help with the local crew needs, schedule coordination, and meals. Both assistants, digital tech, and the production coordinator would be local hires. Moreover, these fees were consistent with previous rates the photographer had paid the crew on past productions in this location.

Equipment

We included $4,600 for cameras, lighting, and grip rentals. The photographer would bring their cameras, lenses, and lighting. They also intended to rent continuous lighting, modifiers, stands, and sandbags from a local rental house. The photographer/director would act as drone op, and we thus added $575 per day for the photographer/director’s owned drone system. $750/day was added for the digital workstation rental. We also included $900 for hard drives to back up the still and video content created. We included $1350 for any misc. production supplies such as production book printing, equipment transport, hard drive shipping, etc.

Travel

We included $1,150 for anticipated Mileage, Tolls, and Parking for travel to and from the location over the two trips. Costs for 10 hotel stays for the photographer/director and their camera op were also included, as well as 14 per diems at $75/day for each photographer/director and camera operator.

Catering/Craft Service

We included $1,200 for Catering & Craft Services for the 6 crew and anticipated 2 clients on set, this equated to $75 per person per day.

Miscellaneous

We included $650 for insurance, and $750 for additional meals and any unforeseen expendables.

Post Production

We added $1000 for the photographer/director to perform a First Edit for Client Review and deliver roughs to the client. We also included retouching for the 30 images at $150 per hour. The client wanted the video content to be able to be edited via their internal creative team. Through conversation, the client requested the photographer/director set the color for all content, and we added $2,200 for this labor.

Results

The photographer/director was awarded the project and they were very thankful for the help. I am told the production was a big success!

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Further Reading
Specialty: Brand Narrative Photography
Expert Advice: Pricing & Negotiating for Commercial Photographers
Expert Advice: How Important is a Photographer’s Location to Their Career?

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By Andrew Souders, Wonderful Machine

Concept: Multi-day photo shoot of a branded trade show booth with accompanying product photography
Licensing: Unlimited use of up to 110 images in perpetuity
Photographer: Brand Narrative, Still Life/Product Specialist
Agency: Mid-size US-based branding & design agency with multiple international offices
Client: Mid-sized Global Diagnostic Healthcare Product Manufacturer

Summary

I recently helped a photographer build an estimate for a West Coast-based healthcare product manufacturer. The brief described capturing the brand’s large, high-end trade show/product display booth during an event at a convention center in the southwestern US. The images needed to showcase the branded booth design and the products it featured. It also included a shot list of individual products on white in a studio set-up at the same venue. The creative plan was for single-day coverage of the booth during the event and an additional 2 days of product photography in an on-site studio. The final use of the images would be for web and print ads as well as collateral purposes, including the client’s website, social media, and marketing/publicity for other industry events.

After reviewing the creative brief and a few revisions to the estimate based on feedback from the agency the client was working with, we landed on a budget to provide up to 110 images over 3 shoot days. This was comprised of 20 final selects of the booth at the trade show and up to 90 images of an anticipated 18 individual products, which would include multiple angles and close-up details of each.

We included a note that the client would be responsible for location coordination at the venue, providing, transporting, and styling for all of the products (some of the products were noted as quite large, and would require extra attention and coordination when moving and preparing them for photographing). Also, the client would be responsible for providing meals for the crew during shoot days.

Fees

We initially suggested Unlimited use for up to 2 years. The client returned requesting to see pricing for a “full buyout.” We tend to avoid this term because it is vague and can mean different things to different people. After clarifying with the client, we landed a license for Unlimited use in perpetuity for up to 110 selected images. I estimated $27k would be an agreeable combined creative/licensing fee for 3 shoot days and the intended use. In this scenario, the size of the client and the amount of content put upward pressure on the fee. However, the niche market of this brand and the smaller audience it would appeal to applied downward pressure. You can read our guide about our lists of vertical markets and more about what vertical markets are in this article.

Air travel would be required for the photographer to reach the venue. We budgeted for the photographer to travel to the location for 1 day to photograph the trade show booth. Then return a few days later after the client had time to transport and prep the products in a separate room at the venue for the 2 days of product shots. Since this would require 2 trips to and from the venue city, I included 4 travel days at $750 each. Aside from that, I added 2 days for the photographer’s pre-production and prep time at $1000 each.

Crew

Since there was a need for a large amount of imagery over the 2 product shoot days, we included a budget for a local producer to aid in coordination. We also included a secondary stills photographer during the days that the product photography occurred. Our aim would be to run 2 individual sets to cover as much product content as possible over the 2 shoot days available for this part of the job.

We added a first assistant for all 3 shoot days at $550/day. They would help with lighting and camera equipment management during the trade show as well as the product days. We also budgeted 2 days for a second assistant at $450/day to act as an extra set of hands on the product shoot days. In addition to the assistants, we budgeted for 2 digital techs (1 for each set). They would handle file management, cleanup, and adjustments during the product shoot portion.

Equipment

The photographer would be able to provide some of their own gear and we included a $6750 budget for the appropriate cameras, lighting, and grip equipment to accommodate the larger products that would need to be photographed, taking into consideration the anticipated 2 sets that would be running during the product shoot as well. I added a $4000 budget for both digital techs’ workstations for 2 days and $220 for portable hard drives and media backups.

Travel

The photographer planned to fly to and from the shoot location. Thus, I included $435 for flights and baggage and $1150 for 5 nights at a hotel. We also included $100 a day for car rentals/transportation and $75 per diem for the photographer. All other crew were intended to be hired locally and wouldn’t need a travel budget.

Miscellaneous

We decided to absorb the insurance costs for the shoot. This included $450 for miscellaneous expenses like production supplies, parking, extra meals, etc.

Post Production

The photographer would include a basic initial edit of the content for the client’s review and to make selections. We then included $7750 to cover up to 30 minutes on each selection for basic processing and file cleanup. We also included product background knockouts and delivery of the final assets to the client.

Results

The estimate was quickly approved, and the photographer was awarded the project. The photographer let us know that he was able to get an additional budget approved to include a DP/filmmaker colleague of his on the shoot. They would provide the client with some motion content of the trade show booth and products as well.

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By Craig Oppenheimer, Wonderful Machine

Concept: Lifestyle portraits of a celebrity interacting with products
Licensing: Exclusive Web Advertising and Collateral use of up to five images in perpetuity
Photographer: Portraiture specialist
Client: Food brand

Summary

I recently helped a photographer build an estimate and negotiate a project for a food brand client. We were presented with a creative brief depicting a celebrity interacting with products. The final use would primarily be for the client’s website and the collateral materials would be used to promote a popular upcoming event. While they requested perpetual usage, it was clear that the images would have a shelf life of about one year considering the wardrobe the celebrity would be wearing and the products they’d be interacting with.

Here is the estimate:

Fees

Given the factors, I based the fee on $2,000 per image for five images and added $3,000 to account for the photographer’s creative fee. We then added $500 for the photographer’s tech/scout day, which was a bit lower than typical. But we were trying to come in slightly below a $70k bottom line based on intel received from the agency regarding the client’s budget.

Crew

I included a producer to help coordinate the production, including their prep, scout, shoot, and wrap days. We also included two assistants (one of which would join the tech/scout day plus the shoot day), along with a digital tech and two production assistants (one of which would help with some prep work), all at rates that were appropriate for this particular market.

Styling

I included a food stylist for one prep day to buy groceries and prep recipes along with one shoot day to cook and style the food on set. We also added a budget for food/ingredients and equipment for their tools to cook on-site. The celebrity had a preferred hair/makeup stylist, and we included their day rate. The client planned to provide all of the wardrobe, however, we still needed a stylist on site to steam/prep the outfits. So we included a wardrobe stylist for just the shoot day. We also included a prop stylist and a prop assistant to procure a variety of dishes and utensils for the food, along with items to supplement the existing items at the location, and included a $1,500 budget for these items.  Lastly, we added $750 to cover miscellaneous styling-related expenses as noted.

Locations

Prior to engaging with us for a proposal, the agency had a location in mind and had actually already reached out to them to do some preliminary research on pricing/availability. We included their findings that they dictated to us for location fees, permits, and location security (the location itself would provide the security). We also added a location scout/manager to visit the location to capture supplemental photos and to join our tech/scout and shoot to be our liaison with the location and help with logistics.

Vehicles

In addition to a van for equipment and/or local transportation, we also included a production RV for the shoot day.

Equipment

Based on the number of setups, we had a local equipment company provide a quote for the cameras, lighting, and grip, which we included along with the digital tech’s workstation and production supplies (walkies, tables, chairs, coolers, etc.).

Meals

I based this on $75 per person for 25 people, to cover breakfast and lunch.

Misc.

I included $1,500 to cover some unforeseeable expenses, and to give us a bit of a buffer.

Post Production

I included $500 for the photographer to do an initial edit to provide the client content to select from and then included $450/image to retouch 5 images, noting that this included up to 2 hours per image. I included funds for hard drives as well.

Results

The photographer was awarded the project.

Bryan Sheffield, Wonderful Machine

Concept: Photography of employees and brand ambassadors showcasing their new product line within a new flagship New York City retail location

Licensing: Web Advertising and Web Collateral use of up to 25 images for one year from first use

Photographer: Architecture, Interiors, and Still Life specialist

Client: Large global athletic apparel brand

Summary

I helped one of our New York City photographers build an estimate for an athletic apparel brand that had just opened a new flagship store in NYC and was launching a product line to coincide with the opening. In our conversations with the client, they described the need for photography of the retail store and on-location still-life images of their new product line being worn and used by their staff and brand ambassadors. The final use of content would primarily be used for web collateral purposes, but the client had plans for a few web advertising placements within regional news and sports sites, as well as paid social media placements.

The photographer reviewed the time the sun would come through the buildings and determined that a 12-hour day would be needed in order to capture sunlight on the storefront and conquer the entire shot list. I added a note of Client Provisions to describe what the client was to provide, including all location coordination, products to be photographed, all staff/talent to be photographed, and all hair/makeup/wardrobe/product styling.

Take a look at the estimate below:

Fees

I put the Photographer’s fees at $7,000 for the 12-hour shoot and licensing of up to 25 images. The client was very complimentary of the photographer’s portfolio and had mentioned on a call that they had wanted to work with the photographer for some time. We took this into account, but at the same time, we understand that the NYC market is a very competitive one. While this photographer might very well be the absolute best for this project, there are many other photographers in the area that could accomplish this job. The saturated market (unfortunately) put downward pressure on the photographer’s fees. While the per-image rate is quite low, at a couple of hundred dollars an image, we felt that it was a fair and competitive fee for the bulk images and duration limited one-year use. The client did not offer a budget for the project, but based on our experience quoting similar projects and the intended media buy, I estimated that they would want to spend between $12-14,000 total.

Crew

We added a first assistant at $550/day to help with lighting and camera equipment management. We also included a digital tech to manage the files and display the content for the client while it was being captured. Two hours of overtime were added for both crew members at a 1.5 increase in their hourly rates. These fees were consistent with the photographer’s crew rates on past projects of this nature.

Equipment

We included $650 for camera, lighting, and grip rentals. The photographer brought their own cameras and lenses and intended to obtain a few orange cones and reflective safety vests for when they would need to be on the street/sidewalk photographing the storefront. We added $300 for the digital tech workstation rental laptop, cables, etc., and included $160 for a hard drive to backup files.

Meals

We added $300 for meals and craft services to cover the three people who would be on set for the 12-hour shoot day.

Miscellaneous

We added insurance coverage at $250 and added $240 for the anticipated taxis/car services, additional meals, and other miscellaneous costs.

Post Production

We added $500 for the photographer to perform an initial edit of all the content and delivery to the client and retouching at $120/hr for an estimated 30 minutes per image.

Results

The photographer was awarded the project, and the shoot was set for a gorgeous day in New York City. The photographer let me know that while on set there were initial discussions about future collaborations with this brand and we all are looking forward to working with this client again!

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By Bryan Sheffield, Wonderful Machine

Concept: Multi-day photo/video shoot of medical equipment in use

Licensing: Unlimited use (excluding Broadcast) of all content created for 5 years from the first use

Director/Photographer: Brand Narrative, Technology, and Health Care specialist

Client: Global medical device and software manufacturer

Summary

I recently helped a photographer build an estimate and negotiate a project for a notable medical device manufacturer. The client brief described the need for photography and videography of talent and client technical staff showcasing their machinery and software products. The final use of the content would be primarily used for collateral purposes, as well as advertisements in industry trade publications, and web advertising use.

While reviewing the initial shot list and scope of the project with the client, the photographer estimated this would need to be accomplished over two shoot days, with a tech/scout day prior to visiting the location.

I added a note of Client Provisions to describe what the client was to provide. In this case, they would handle all location(s), machinery and equipment to be photographed, all client-branded wardrobes, all client staff/equipment technicians, and all photography/video post-processing and retouching. Within the Job Description, we added an option to extend the use of the created content for 15 years for an additional $15,000.

Here’s a look a the estimate:

Fees

I put the Photographer/Director’s fees at $20,000 for the 2-day shoot. The photographer had previously worked with this client, and the client was accustomed to the photographer charging $6k per day for still photography and similar use license. While the requested client use was Unlimited, when determining appropriate fees we took into consideration that the intended use wouldn’t contain any direct-to-consumer advertising or pricey media placements. I felt that, with the included video needs, $10k/day was a fair fee for the photo/video work creation and licensing. This was in line with fees I have seen for other projects with similar clients. I added $750/day for the 7 photographer/director pre-pro, tech/scout, and travel days.

Crew

We added a first assistant at $600/day to help with lighting and camera equipment management, and to attend the tech scout day to familiarize themselves with the location and equipment needs. We included the director’s DP at $1,500/day for the shoot days, as well as four pre-production/scout days at $750/day.

We included an assistant camera operator at $750/day to aid the DP, as well as a grip/gaffer at $650/day. We also included a digital tech/media manager to manage the files and display the content to the client while being captured. We added a producer and anticipated 12 days anticipated for the project, and a production assistant for the two shoot days, as well as prep and wrap days. These fees were consistent with appropriate rates in this market.

Equipment

We added $7,500 for camera, lighting, and grip rentals. The photographer and DP brought their own cameras, lenses, and intended to rent a few specialty lenses, as well as all lighting, camera support, and grip from a local rental house. We added $750 per shoot day for the digital tech workstation rental to consist of a laptop, two client monitors, a wireless director monitor, a cart, cables, and any other necessary equipment. We also included $950 for hard drives, and $1,100 for production supplies such as styling racks, steamers, and production book printing.

Styling Crew

A wardrobe stylist was added to dress our five hired talent, and we anticipated wardrobe costs at $900/day. We estimated wardrobe at $900 for the relatively simple scrubs, gowns, socks, and shoes/slippers needed for five models. We also included a combo hair/makeup stylist at $900/day. The director’s vision included a pure white room, and we added an art dept team to cover the floor/walls/ceiling with white materials that would be removable and non-destructive to the location.

Casting & Talent

The client shot list described a wide range of gender, ethnicity, age, and body sizes to be used across their varying markets, we included $3,500 to cast these everyday individuals. We anticipated all five talent on set each day and included $500 plus a 20% agent fee for these day rates. We included $2750 plus 20% as a use fee and all talent usage was guaranteed.

Travel

The traveling party consisted of a photographer/director, DP, and producer. To accommodate this group we included airfare, lodging, airport transfers, local transportation, and per diems for each person.

Catering & Craft Services

We added $3,400 for meals and craft services to cover the 21 people to be on set over the three scout and shoot days.

Covid Safety

Because the crew would be working in a hospital, the client required all on set to be fully vaccinated with proof of a negative PCR test within 24hrs of their first day on set. We added $130 per person to compensate for these test costs and also included $350 for PPE and supplies.

Miscellaneous

We included $850 for insurance coverage and added $500 for the anticipated additional meals, expendables, and other various costs.

Post Production

We added $500 for the photographer to perform an initial edit of all the content and delivery to the client via hard drive. The client would handle all editing and retouching needs.

Results

The photographer was awarded the project, and the production was a huge success. The client came back to the photographer with a retouching order for 18 images, and a separate quote was presented. The video content is currently in edit, and all will be used within the client’s product launch Q2 this year!

By Bryan Sheffield, Wonderful Machine

Concept: Multi-day photo shoot of food still life, and chefs/talent portraiture

Licensing: Unlimited use (excluding Broadcast) of up to 20 images for 10 years from the first use

Photographer: Food/Drink Still Life, and Portraiture specialist

Agency: Medium-size, full service

Client: High-end restaurant within a major metropolitan city

Summary

I recently helped a photographer build an estimate and negotiate a project for a high-end restaurant client. The creative brief and subsequent conversations described a multi-day production featuring styled food/drinks and studio portraiture of chefs and patrons. The final use of the photography would be client web, local OOH placements, and web/social advertising.

While reviewing the initial shot list and scope of the project with the agency, the photographer estimated this would need to be accomplished over 4 shoot days, with a tech/scout day prior to visiting the locations. We discussed this approach with the agency and client, and after review, they asked that we keep this production to a three-day shoot. In order to hit the entire shot list, we created a plan for each shoot day, with one of the days needing overtime to accomplish the project.

As our client would be handling various items, I added a note of the Client Provisions to describe precisely what the client was to provide. In this case, they would handle all location(s), location coordination, all casting and people to be photographed, all food/drink to be photographed and food/drink styling, and client-specific wardrobe.

Take a look at the estimate below:

Fees

I put the fees at $26,000 for the three-day shoot, including unlimited use of up to 20 images for 10 years. I came to this fee by discussing the project with the photographer and learning that they had previously worked with this client. Their previous projects had been billed at a $2,000/day fee plus $200/image for web collateral use. Originally I assumed a $1,800/per image fee but reduced this to ~$1,000/per image based on the number of images and our estimate of the client’s total budget. The combined Creative/Licensing fees included $2,000/day for the photographer, plus $20,000 for the 20 image use. I added $1,100/day for the photographer tech/scout day and anticipated 2 hours of overtime at $375/hr. We added a description within Licensing Options for additional still images to be included for $2,200 per image, as well as the option to extend the use of the 20 images in perpetuity for an additional $21,000.

Crew

We added a first assistant at $550/day to help with lighting and camera equipment management, and to attend the tech scout day to familiarize themselves with the location needs and help advise on lighting equipment. A second assistant was added to the project at $400/day and a digital tech was hired to manage the files and display the content to the agency and client as it was being captured. We added a Producer and anticipated they would need 11 days of work, a production assistant for the 3 shoot days, as well as a prep day. As a final consideration, we added two hours of anticipated OT for each of these roles at 1.5x their hourly rate based on a 10-hour day. These fees were consistent with appropriate rates in this city.

Equipment

We included $3,600 for camera, lighting, and grip rentals. The photographer brought their own cameras, and lenses, and intended to rent some supplemental lighting and grip from a local rental house and a few specific specialty items were purchased as well. We added $750 per shoot day for the digital tech workstation rental to consist of a laptop, 4 external monitors, a cart, cables, etc. As we expected a large client presence on set, we planned for additional monitors to set up a viewing area for the client away from the set.  We also included $480 for 3x 1TB hard drives, and $3,300 for production supplies like tables & chairs rental, styling racks, production book printing, etc.

Styling Crew

As we planned to have one day of portrait photography, we added a hair/makeup stylist for $900/day, as well as an assistant. Because the portraits would highlight people’s hands, we added a nail artist/stylist at $1,200/day. A wardrobe stylist was hired along with an assistant to dress our five hired talent and help prep the chefs/staff. We anticipated wardrobe at $2,000 assuming $400 per outfit for our five talent. We added a prop stylist at $1,000/day for all three shoot days, plus two shopping/prep/returns days. We anticipated props might cost $2,300 but added a TBD here pending final creative needs. As we did with the other roles, we added two hours of anticipated OT for each of these roles at 1.5x their hourly rate based on a 10-hour day.

Covid Safety

Since we would be photographing indoors within client-owned spaces, we required all on set to be fully vaccinated with proof of a negative PCR test within 24hrs of their first day on set. We added $200 per person for these test costs and/or a stipend to all. We also added $400 for PPE and necessary healthcare supplies.

Meals

We included $3,055 for meals and craft services to cover the 21 people to be on set over the 3 days, as well as $250 for the scout day meals/crafty.

Miscellaneous

As we would need to pay for garage parking for all attendees at each of our locations, and added $3,200 for the anticipated parking, mileage/taxis, as well as additional meals. Our final estimate for insurance coverage was $1,500 for the project.

Post Production

We added $1,000 for the photographer to perform an initial edit of all the content and delivery to client for review and included retouching for up to 20 images at $150/hr.

Results

The photographer was awarded the project, and the work is currently a large part of the client campaign currently running. The photographer even informed me that they recently met with the client and were told the campaign has increased their web traffic and look forward to another shoot in early 2023!

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By: Bryan Sheffield, Wonderful Machine

Concept: 4-day photo/video shoot capturing environmental portraiture, architecture, and scenic photography of a travel destination.

Licensing: Perpetual Web Advertising and Web Collateral use of all content captured.

Photographer: Travel, Portraiture, Interiors, and Architecture specialist.

Client: Large Financial Institution and their partner restaurants/hotel/hospitality clients.

Summary

A NYC-based photographer recently came to Wonderful Machine for help building an estimate and negotiating a project with a large well-known financial institution. The client brief and subsequent conversations described a multi-day travel shoot and production needs with multiple subjects/locations each day. It also described the need for scenic interiors and architecture imagery, as well as environmental portraiture of notable proprietors and chefs within various client partner establishments (restaurant, hotel, and hospitality). The final use of the photography would be on the client’s web platforms and web ads to promote their financial services while highlighting the various hotels and restaurants within the travel destination. The video needs included 10 second – 20 second clips mirroring the stills shot list, and would be used for social media and potentially a few banner ads.

While reviewing the initial shot list and scope of the project with the agency, the photographer estimated this would need to be accomplished over 8 shoot days, with a tech scout day prior to visit the locations, determine sun times, etc.

Take a look at the Estimate here:

Fees

I put the fees at $40,000 for the 8-day shoot, including Web Advertising and Web Collateral use of all images captured in perpetuity. We found this number to be appropriate for the client’s use, the number of potential locations/scenes that we anticipated per shoot day and considering the project scope and what the competition might charge. This fee was in line with what this photographer was accustomed to charging for a project with similar deliverables. I added $1,000/day for the photographer tech scout day and two travel days. The agency requested two “Hold Days” on location to account for potential weather delays, and we included this for the photographer at $1,000 for each day.

Crew

We added a DP/Camera Operator for 8 shoot days at $2,500/day, plus five Scout/Travel/Hold days at $1,000 each. We added the first assistant to help with lighting and camera equipment management and to attend the tech scout day to familiarize themselves with the shoot needs and help advise on equipment needs. The second assistant would be local, but we needed to account for the hold days as well. We also chose to bring the second assistant on the scout day, potentially as another set of hands or driver as needed. As a final member of the crew, we added a digital tech to manage the files and display the content to the client as it was being captured, and who would be traveling with the photographer and first assistant. These fees were consistent with previous rates the photographer had paid their team on past productions.

Equipment

For all gear needs, we included $3,200/day for stills, video cameras, grip, and lighting rentals. The photographer would bring their own cameras, lenses, and lighting, and intended to rent some supplemental lighting, grip, and a few specific modifiers and other specialty items from a local rental house. An estimate of $350 per shoot day was determined by the digital tech for their workstation rental, consisting of: a laptop, external monitor, mobile power supply, and cables. We also included $2,500 for 3x 8TB hard drives.

Travel

The traveling party would include the photographer, their first assistant, and digital tech. I included an estimated $725 each for flights and baggage fees and $675 for taxis to and from the airport. We added Per Diems at $75 each for the 3-person traveling party.

Miscellaneous

Given the crew, equipment, and travel necessary for the project I included $1,200 for insurance coverage.

Post Production

Lastly, I added $2,500 for the photographer to perform an initial edit of all the content and deliver it to the client for review. We assume this process would consist of culling images, global curves, simple color balance needs, and export to jpg for client review and backup.  Even though there would be a digital tech on set, we estimated that going through 8 days of photo/videography would take approximately 20+ hours. At the agency’s request, we also included hourly retouching for up to 50 images at $125/hr.

Results

After the agency reviewed this estimate with the client, they let us know that these shoot days and bottom line numbers would need to be reduced significantly. The agency followed up to provide a reduced shot list and a large reduction of video needs. They advised that we should include crew transportation on location and lodging, as the client previously was leaning on their partners to provide lodging for all. During these negotations it was established that the client wanted to keep the total to approximately $65k all in.

With this info, we discussed the shot list with the creative team, and ended up slimming the shot list a little further. As a result we estimated a 4-day shoot, plus 1 scout day. While we were reviewing the video shot list and budget parameters, it was decided that the photographer would now be able to handle all video needs themselves. The agency would be handling all on-site production including all location(s), location coordination, employee/staff talent, and talent coordination, wardrobe/hair/makeup styling, crew meals and craft services, and COVID safety protocols. We included a Client Provisions section within the Job Description to note who would be handling these items, as well as any/all final video editing.

Below is the updated Estimate:

Fees

As the agency was now anticipating a $5,000/day fee, I put the fees at $22,000 for the four days with an increase of $500/day for the photographer to now handle the video needs themselves. I added $1,000/day for the photographer tech scout day and two travel days. The previous “Hold Days” were removed so that if needed they would be approved on-site.

Crew

We reduced our first assistant and digital tech to seven days, including scout, shooting, and traveling. As noted above, we had removed the previous DP/camera operator need. At the agency’s suggestion, we added two producer days for pre/post-production assistance with securing travel and invoicing/paying crew.

Equipment

We included $2,000/day for cameras, grip, and lighting rentals. As we said before, the photographer would bring their own cameras, lenses, and lighting, and intended to rent some supplemental lighting, grip, and a few specific modifiers and other specialty items. The same $350 per shoot day was estimated by the digital tech for their workstation rental, however, we adjusted the budget to $1,500 for 3x 4TB hard drives and $1,000 for any production supply potential needs.

Travel

The traveling party would still include the photographer, their first assistant, and digital tech. As requested by the agency, we included six hotel nights for each based on anticipated rates in that area. We included an estimated $725 each for flights and baggage fees and $675 for taxis to and from the airport. Additionally, 21 Per Diems at $75 per day were added for the 3-person traveling party.

Vehicles

I added five days for passenger van rental, so the crew and agency personnel could move about town together. We were told that a local fixer/PA hired by the production team would handle the van driving and pick-up/return.

Miscellaneous

We adjusted the insurance to $1,000 for the project.

Post Production

We adjusted the first edit and client review of all content to $1,750. Because we reduced the amount of shoot days, we determined that going through 4 days of photo/videography would take 8-12 hours. At the agency’s request, we included hourly retouching for up to 50 images. Initially, we suggested $125/hr, but this rate was discounted to $75/hr by the photographer in order for us to slim down the bottom line.

Final Results

The bottom line was $3,575 above the client’s stated budget, but all needs were met and the additional funds were approved. The photographer was awarded the project, and the shoot was a success! The client was thrilled with the work, and is currently running the project all over the internet!

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Need help pricing and negotiating a project? Reach Out!

By Craig Oppenheimer, Wonderful Machine

Concept: Two talent enjoying the amenities of a hotel, captured in both stills and video.

Licensing: Unlimited use (excluding broadcast) of up to 10 images and all video content captured in perpetuity.

Photographer: Lifestyle and hospitality specialist.

Client: Hotel Brand.

Here is the estimate:

Fees

This project was part of three other similar shoots the agency was coordinating around the world, and at each one, they hoped to capture two talent enjoying the amenities of the hotel. While stills would be the priority, they asked for some b-roll video content to be captured of the same sets, primarily for web advertising. While we’ve seen higher fees for more limited usage for such brands, it became apparent that the usage would essentially be five images, delivered in both horizontal and vertical. Given the local market where the shoot would take place, and the limited quantity of images and intended usage, I decided to include $10,000 as a creative/licensing fee. I also added two scout days for the photographer.

Crew

The agency hoped for a minimal crew to keep the production footprint as small as possible. We included a producer, videographer, assistant, and a digital tech, all with appropriate travel/shoot days and rates for the given market.

Casting

We planned to cast from cards, rather than do a live casting, and include $750 for the time to accomplish this. We split the fees for the two talent into three categories; a session fee for their time, a usage fee for their likeness based on the unlimited use, and a travel fee for them to get to the locations.

Styling

Rather than a full styling team, and in an effort to keep the footprint small, we included one stylist to help ensure the talent looked presentable and to help with the wardrobe the talent would provide. I typically break out these roles and have a separate person handle hair/makeup while another stylist handles wardrobe, however, the agency preferred to bundle the roles.

Equipment

We included appropriate fees for both stills and video equipment, along with a rental fee to use the digital tech’s workstation. These rates included cameras, lenses, and all of the supporting grip equipment and sliders needed to get the shots noted in the provided creative brief.

Health & Safety

To maintain public health and safety on set we included a fee that would compensate each crew member, upon providing us with a negative covid test result that they would receive prior to the shoot.

Miscellaneous

While the client’s onsite services would provide catering, we included $500 for additional meals and $1,750 for unknown expenses incurred during international travel.

Travel

Eight people would be traveling to the location, and we included airfare, transportation, and per diems for each of them, based on the number of days they’d be traveling. Despite the client being a hotel where the shoot would take place, they were not able to provide lodging for the crew and asked for us to include lodging elsewhere for the team.

Post Production

Lastly, we included $500 for the photographer to sift through the content and provide a gallery to the agency, along with a fee of $200 per image for the photographer to ultimately retouch the agency’s selects. Additionally, we added $400 for hard drives and shipping.

Results

The photographer was awarded the project.

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Need help estimating or producing a project? Please reach out. We’re available to help with any and all pricing and negotiating needs, from small stock sales to large ad campaigns.

By Bryan Sheffield, Wonderful Machine

Concept: Architectural and Lifestyle images of employees within an office.

Licensing: Collateral use of up to 12 images in perpetuity.

Photographer: Interiors, architecture, and lifestyle specialist.

Client: Interior design firm.

I recently helped a NYC-based photographer quote on and negotiate a project for an interior design firm that had just finished a 3-floor redesign of the office space of a well-known social media company. The creative deck from the design firm described images of people working, drinking, eating, and utilizing the newly designed vast spaces. The final use of the photography would be web and print materials to promote the design firm’s portfolio. It was requested that the licensing would be conveyed to the social media company as well. While reviewing the initial shot list and scope of the project with the client, the photographer estimated this would need to be accomplished over 3 shoot days. The client requested this be completed within 2 shoot days due to the location and staff needs. Once we revised the shot list with the client, we let them know this could be accomplished in 2 days, with overtime on one 12-hour day. The client let us know that no production support was needed, as they would be handling all location(s), location coordination, location styling, employee/talent coordination, wardrobe/hair/makeup styling, crew meals and craft services, and necessary medicines, and COVID safety protocols. We included a Client Provisions section within the Job Description to note who would be handling these items.

Here is the estimate:

Fees

The client would be handling all production elements and requested an estimate for up to 12 images taken over a two-day shoot. The client had previously hired the photographer and was accustomed to a $ 3,000-day rate. This was noted in some of the first notes from the client. I put the fees at $700 per image, for each of the 12 images, for perpetual collateral use. The images and the established “day rate” totaled $14,400. Our estimate included a line stating the cost of additional images to be $800 each including up to 1 hour of retouching. I added $750 for the photographer to attend a tech scout day.

Crew

We added the first assistant to help with lighting and camera equipment management and to attend the tech scout day to familiarize themselves with the shoot needs and help advise on equipment needs. We also added a digital tech to manage the files and display the content to the client as it was being captured. We added 2 hours of overtime for these two positions at 1.5x their hourly rate. These fees were consistent with previous rates the photographer had paid their team on past productions.

Equipment

We included $3,200 for cameras, grip, and lighting rentals. The photographer brought their own cameras, lenses, and lighting, and intended to rent some supplemental lighting, grip, and a few specific modifiers and other specialty items from a local rental house. The digital tech estimated $650/day for their workstation rental and we also included $350 for three hard drives.

Miscellaneous

We included $700 for insurance based on client-provided specific insurance requirements that were a little outside of the photographer’s existing policy coverages. We also added $500 to cover taxis, additional meals, and any other small expenses.

Post Production

We added $1000 for the photographer to perform the First Edit for Client Review. Even though there would be a digital tech on set, we estimated that going through two days of photography, the compositing mock-ups needed, client delivery of roughs, and client calls discussing the images, would take 8-10 hours. We also included retouching for the 12 images at $150/hr.

Results

The photographer was awarded the project, and the shoot was a phenomenal success! The client was thrilled with the final work and added two additional images to the final license order.

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Need help estimating or producing a project? Reach Out! We’re available to help with any and all pricing and negotiating needs!

By Bryan Sheffield, Wonderful Machine

Concept: Lifestyle and architecture images of talent enjoying the museum.

Licensing: Unlimited use of up to 30 images for 5 years from first use.

Intended Use: Web and print marketing materials.

Photographer: Interiors, architecture, and lifestyle specialist.

Client: Internationally known art museum.

I recently helped one of our east coast photographers quote and negotiate a project for a large, well-known art museum. The creative brief from their ad agency described images of people enjoying the art exhibits within the museum galleries and showcasing the architectural features of the building. The final campaign would use the photographs in web and print marketing materials to promote the museum’s membership program. At this time, no OOH placements were planned, but the agency requested an unlimited-use license for potential future placements.

Here is the estimate:

Client Provisions

We specified that the agency would handle location(s), location coordination, all location styling and cleaning, talent and talent coordination, wardrobe/hair/makeup styling, crew meals, craft services, COVID safety protocols, and any image retouching.

Fees

The agency would be handling all production elements and requested an estimate for up to 30 images taken over a 2-day shoot. I put the fees at $600 per unique image for each of the 30 images totaling $18,000, with consideration of the number of images. While the per-image fee is low for unlimited use if it were just a handful of images, the bulk license of 30 images justified the fees to the photographer. Our estimate included a line stating the cost of additional images at $750 each plus retouching. I also added $1,000 for the photographer to attend a tech scout day.

Crew

We added a first assistant to help with lighting and camera equipment management and to attend the tech scout day as well. We also added a digital tech to manage the files and display the content to the client as it was being captured. These fees were consistent with previous rates the photographer had paid their team on past productions.

Equipment

I included $1,600 for cameras, grip, and lighting rentals. While the photographer brought their own cameras, lenses, and lighting, they intended to rent a few specific modifiers and other items from a local rental house. The digital tech estimated $650 a day for their workstation rental and I also included $350 for 3 hard drives.

Miscellaneous

We included $350 for insurance and $250 to cover taxis, additional meals, and any other small expendables.

Post Production

Retouching was to be handled by the client and we chose to not charge for the first edit since we had a digital tech on set to compile all files on a hard drive for the client. This was done to keep the estimate under $26k.

Results

The photographer was awarded the project, and the shoot was a phenomenal success! During the tech scout, the photographer discovered they needed a few intricate set-ups, as well as multiple lighting setups at the same time. The final invoice we delivered included an updated $3,100 to cover equipment costs. The client and agency were very happy with the final work, and we are expecting to see marketing collateral launch on the web any day now!

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Need help estimating or producing a project? Please reach out. We’re available to help with any and all pricing and negotiating needs, from small stock sales to large ad campaigns.

PRICING & NEGOTIATING: AMBASSADOR PORTRAITS FOR AN APPAREL COMPANY

Craig Oppenheimer, Wonderful Machine

Concept: Studio portraits of four brand ambassadors for an apparel company

Licensing: Web Advertising, Web Collateral, OOH (out-of-home), and POS (point-of-sale) use in the US and Canada of up to 24 images for one year from first use.

Photographer: Portraiture specialist

Agency: Medium-size, full service

Client: Apparel company

The client had four brand ambassadors that they wanted to photograph in a studio on one shoot day, and we were provided a creative brief showing them interacting with a few props while dressed in the apparel company’s clothing. They needed two looks with three poses each for all four talent, which would yield 24 images.

Fees

While the licensing could be limited to one year, they did have broad usage plans, including potential placement on large out-of-home displays and within the retail environments (POS) where the apparel would be sold. Even though they wanted multiple looks and poses for each talent, it was clear from the brief that they’d likely use one final image per subject. I decided to price the usage by the subject, and included $4,500 for each, totaling $18,000, and then added a $2,500 creative fee on top of that. While we typically combine creative and licensing fees into one line item, we were specifically asked by the agency to break these two line items out on our estimate. In addition to these two fees, I also added a pre-light/fit day fee for the photographer at $1,000, which included one day in the studio prior to the shoot — to set up lights and for the styling team to assess wardrobe with the talent.

Crew

We included a producer to help line up all aspects of the production, along with two assistants, all of which would attend the pre-light day as well. Additionally, we included a digital tech and a production assistant. Typically, I don’t include half days for crew members, but the photographer had crew at the ready who could jump in for a half-day to help set up lights on the pre-light day, and I based these numbers on local knowledge of rates in this specific market.

Styling

While the client would provide all of the apparel, we included a wardrobe stylist for both the pre-light day and the shoot day to manage inventory, prep the outfits, and help the talent try on and ensure proper fitting. We also included a hair/makeup stylist and a prop stylist to acquire a few minor items. We anticipated the prop stylist could procure these supplemental items and just drop them off at the studio, rather than needing multiple shop and return days.

Health and Safety

We included a covid compliance officer and testing as requested by the agency. As a cost-saving measure, they asked us if we could include PCR tests just for the subjects (two of which would have parents in attendance who would also be tested) as well as the two clients attending. Everyone else was approved to just use rapid tests prior to the shoot.

Location

The photographer had a studio in mind that offered a flat $2,000 fee for a half-day pre-light and a full shoot day.

Equipment

We included an adequate fee for both the pre-light and shoot day for cameras, grip and lighting equipment, plus a fee for the digital tech’s workstation on the shoot day.

Meals

I included $60 per person for a light breakfast and lunch on the shoot day.

Miscellaneous

I added a bit of a buffer for unforeseen minor expenses and also a nominal fee for insurance to contribute to the photographer’s existing policy.

Post Production

We included $500 for the photographer to perform basic color correction of the content and delivery of a gallery, plus $300 for a hard drive. The agency would provide further retouching on the selects.

Results

The photographer was awarded the job.

By Bryan Sheffield, Wonderful Machine

Concept: In-studio, on white, portraits of 2 client advocates. With various set-ups.
Licensing: Unlimited use of up to 10 images for 1 year.
Photographer: Lifestyle/portraiture specialist.
Client: International humanitarian non-profit

I recently helped one of our East Coast photographers quote on and negotiate a project for a well-known NGO. The creative brief from their ad agency described still photos showing the client advocates in heroic poses on a white background. The photos would be stripped into other backgrounds provided by the agency (and the agency would be handling the post-production).

The photos were intended for an OOH (Out of Home) campaign honoring those employees and would be primarily used on billboards and bus shelters in the U.S.

The photographer would be one of several photographers shooting subjects in different cities around the country.

Here is the estimate:

 

 

Fees

After creative calls with the agency and client, and with the understanding that the client wanted to stay within a $15k budget, I put the fees at $500 per unique image for each of the 10 images, totaling $5,000. They asked for the cost of additional images, and I priced each with a 10% discount at $450 each. The per-image fee is low for OOH use, but the photographer is a supporter of the non-profit’s cause and was eager to be a part of this project. I added $500 for the photographer’s pre-pro time to include meetings and securing crew and lighting equipment.

Crew

We included two assistants to make sure the photographer had enough help with lighting. We added a DigiTech to manage the files as well as run a Zoom remote viewing for the NYC-based agency not on set. These fees were consistent with previous rates the photog had paid these people on past productions. We added $1,000 for a producer to help book the studio, confirm crew, organize catering needs, and manage the remote viewing and client communications during the shoot.

Equipment

I included $1,100 for cameras, grip, and lighting rentals. The photographer brought their own cameras and lenses and rented lighting and grip from the studio. $500 was estimated by DigiTech for their needed gear rentals. I also included $350 for 3 hard drives.

Styling Crew and Expenses

We included $750 for a combo Hair/Makeup stylist. This rate was estimated by the stylist.

Locations

We included $1,300 for a studio rental day at a studio the photographer had worked in previously and found suitable. This fee included the studio cleaning fee.

Meals

$675 was estimated to cover a light breakfast, and lunch needs for 9 people on set. The $75pp also included simple craft services the photographer would bring to the set. Water, soda, snack bars, fruit, etc.

Covid Safety

We included $2,000 for third party on-site testing. The testing agency would bring PPE as well for the 9 folks on set.

Miscellaneous

We had $350 as miscellaneous expenses. This would include $200 of insurance for the photographer for, cover mileage and parking for the crew, as well as any additional snacks/beverages before or after their time on set each day, and tiny bit of buffer for any unforeseen expenses that might arise.

Post Production

Retouching was to be handled by client, we chose to not charge for the first edit in order to keep the estimate under $15k.

Client Provisions

We included a Client Provisions note that all talent, talent coordination & releases, wardrobe and props styling, as well as all image retouching, would be handled by the production company.

Results

The photographer was awarded the project, and the shoot was a huge success! OOH ads for the project were running this past winter up and down the East Coast I-95, as well as a few locations in Detroit, Chicago, St. Louis, and SoCal.

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If you have any questions, or if you need help estimating or producing a project, please reach out. We’re available to help with any and all pricing and negotiating needs— from small stock sales to large ad campaigns.