On rare occasions I choose to be on the other side of a camera. Last week I had the privilege to have my portrait taken by one of Kansas City’s premier artisan image makers. Jeff Schotland is not only a talented photographer but is fluent in the craft of vintage image making processes. Jeff is also a collector of vintage camera equipment.
Although I’ve photographed with everything from a pin hole camera to 11x14 view camera in my life, the beautiful vintage cameras Jeff shoots with are works of art on their own.
He photographed me with a late 1800’s early 1900’s ( Dalimeyer 4B ) lens and a gorgeous 8x10 (Rembrandt Portrait Camera) made by Burke & James. The final result is a one of one glass plate Ambrotype photograph.
Jeff hasn’t paid me to say this but, if you’re looking for an unique Christmas gift for the person that is hard to buy for, this would be the perfect gift. Run don’t walk to book a session with this Kansas City artisan talent. Check him out at http://www.handmade-photographs.com or call him @ 816-812-7914
Thanks Jeff, I had a blast!
If you would like to view the beginning of this 8 part blog series, please click here.
Part 8: What makes me a good client? Does that matter?
There’s an old wise saying that says, do unto others as you would have them do unto you. These are wise words whether you apply it to business or life in general.
Here are a few things that come to mind that makes a good client:
1. Be prepared: As we discussed in Part 5, the more specific you can be with the scope of the project, the more accurate we can be with the estimated cost. This includes client expectations. Do they want this project to look better than anything they’ve seen before or do they need it to be down and dirty? We know you may not have all the specifics every time, and in those cases, we can give you a “Ballpark” cost. When you find out more details, let us re-estimate.
2. Be honest: If you’re required to get three estimates and you have a good idea they want to work with someone other than us, tell us. We will be happy to get you an estimate, but most likely won’t spend as much time putting it together. On the flip side let us know when we have a good chance getting the project. Be honest about the budget. I don’t know any company or agency that doesn’t have a ballpark idea what they want to spend on a project. I’m sure there are a few, but that get’s back to being prepared. Let me offer an example. Who goes to the grocery store with $50.00 in their pocket and loads up two carts full of groceries? Chances are you know that $50.00 isn’t going to do the trick. We understand if you have a policy of not giving out an exact number, so give us a ballpark. “I think we need to be between $5000.00 and $10,000.00”. Knowing this information could allow us to give you a couple of options or determine if we can do the project at all, as described in your brief.
3. Think of us as part of the team: By nature, we are problem solvers and communicators. The earlier and more we can be involved with your marketing team, the quicker and better we can help you be a winner in your client’s eyes. 99.9% of the vendors I know, want you and your clients (company) to be successful. We’re not the enemy you need to beat-up and defeat. We’re part of the team that’s here to help you succeed.
4. Realize this is a business: Estimates, Contracts, Terms, and Conditions, Service Agreements, etc. are all important. Every word and sentence is important and has legal ramifications. These legal documents aren’t for when everything is going well, they are for when things get unsure, there are unexpected changes, or there’s a misunderstanding. Most of these documents are boilerplate and can have very prejudicial clauses in them. Things like, “Work for Hire” (If you don’t know what it means, google it.), things like, we require you to carry 8 million dollars in liability insurance for us to work at your studio. These types of conditions are non-starters and will need to be negotiated out or compensated for in the contract. Legal negotiations happen all the time and are part of the process.
5. Help us help you: We know for the most part budgets are tighter than ever. We know you’re overworked and underpaid, so let us take some of that burden off your shoulders. We are professionals. We have more than likely worked on a project similar to yours. If you let us, we can bring a lot to the table and make the project run smoothly. We are problem solvers and our goal is to help you look awesome to your client. On the flip side, we can learn a lot from your perspective also. It’s always a two-way street. Realizing everyone is human is another key component. For example, I may have had a best friend tell me they have incurable cancer the night before the shoot. You may have had a child throw a mind-blowing temper tantrum before you arrived at the project. If we all communicate we’re having a not so stellar day, you’ll be surprised how everyone will rally to the need and make a bad start to the day turn around.
6. Last but not least, does it matter? Only if you want to get the best possible work from your vendor. Only if you want to enjoy life, even while working. If not, ignore our suggestions.
Part 7: How long will this take? I need these photographs right away.
The answer to this question comes with a lot of variables. The short answer is, it depends on how specific and prepared you are with your photo request. It also depends on how complicated the attorneys or legal department has made it to work with creatives. Last but not least, it depends on the relationship you have with the photographer/vendor, if any.
Let’s first discuss the, (being specific and prepared) part of “How long will this take”. Whether you’re a small company looking to do a professional photo shoot for the first time, a large corporation, an Art Buyer/Producer or Art Director, the more specific you can be, the faster we can start shooting the job.
If you provide us with a specific shot list, shot descriptions, usage needed, look and feel mood boards, a ballpark budget, and deadline, we can get your project started pretty quickly. Maybe in a week or less depending how complicated the project is and the crew/photographer’s availability.
On the other hand, let me give you an example of what will slow the start of a project down. It’s not unusual that we’ll get an email or call asking for a cost of shooting “10 (some kind of) product shots” and 5 (some sort of lifestyle) shots. This doesn’t give us enough information to give you an estimate. What kind of product shots? Are they chrome teapots? These take a long time to light and retouch. Are there any group shots? These take more time to set up and light. Do you want props around the products? If so, who’s getting the props? What kind of surface do you want the product sitting on? Are we going to shoot the products at a low angle? If so, what kind of background do you want behind them? What kind of lighting do you want? Do you want any special effects? Is your product photo ready or will it need to be unpacked and assembled? Who is packing the product back up for shipping?
Do you want the products shot in the studio or location? If location, where is the location. Depending on the complexity of the shots and location, this may mean we need to rent a van to haul all the equipment needed. I may also require additional crew to assist with the production. I’ll stop here, but there are numerous other specific questions that will need to be answered just to get you an accurate estimate. Now, let’s talk about the lifestyle shots. What is the location? Is it a home? Is it a business? Is it in a park? If its a home, what style of home? Do we need to find a contemporary or traditional home? Will we need to prop the home? What kind of props and who’s shopping for the props? If it’s a business, do you have one in mind? What hours of the day can we shoot in the business without interrupting it? Will we need to pay them rental fees and employee overtime? Will they require a certificate of insurance showing we have liability insurance covering them, if something goes wrong or damaged? If we are shooting in a park, on a sidewalk or street we will need permits. This can sometimes take a week or more to locate the proper authorities and secure a permit. Photographing on location, will most likely require a “location scout” to go out and photograph different locations for your approval. Will we need models? How many and what ages? What ethnic mix do you want? Now you will need a hair and make-up stylist, a wardrobe stylist, a production coordinator to make the production run smooth and coordinate the models, catering, where the models change, etc., etc. As you can see a simple product shoot can get complicated very fast. The more of this information we know up front, the quicker we can estimate the cost of the project and begin checking on the availability of crew and talent.
Now let’s discuss the other major factor that can effect, “ How long will it take?”. “Legal”.
Let me give you a vendor’s prospective and a little editorial opinion. We’ve both worked for many of the world’s top corporations and a lot of the countries top advertising agencies over the past 30 years. Over that time we have seen the legal end of a photo shoot only get more ridicules and complicated. As little as ten years ago, P.O.’s and Terms and Conditions were usually less than a page long. They were pretty standard and for the most part reasonable. Since then the legal aspect of photography/motion has gotten crazy. It’s not unusual to see a P.O. that is 3 to 5 pages long and a “Master Service Agreement” can be 10 to 20 pages long. Here’s my editorial opinion on this. It seems to have gotten more complicated when personal relations with the photographer/vendor started to get devalued. As few as 5 years ago there was a lot more in-person interaction between a client and photographer/vendor. For example, In-person client meetings, in-person portfolio showings, after hours get togethers and phone calls were commonplace. Now, most everything is primarily done via email, text, or face time. These give you very little if any real understanding of the person you’re dealing with. When you meet someone in person you can get a since if they are honest, trustworthy, passionate, flexible. With quick forms of digital communication it is much harder, if not impossible to translate these attributes. Ok, that’s my editorial opinion. Having said that, we all have to deal with the way things are currently. This usually means our terms and conditions are longer and more complicated also. It also means we usually have our attorney look over the legal paper work and suggest any concerns they may have on our behalf. After this, we have our attorney contact your attorney or legal department and hash out a revised legal document if changes are needed. This all takes time and money. Trust me, we don’t want to be thought of as hard to work with, but we need to make sure we protect our business interest, our ability to make a profit, and not get ourselves in hot water down the road. These are serious and important documents where every word has legal ramifications for both parties. Unfortunately, what the attorneys agree to often doesn’t get passed on to the person at the photo shoot. This can cause issues. I suggest making sure you know all the current terms and conditions of the contract before the shoot. It will help avoid issues why’ll shooting. The quicker we can get these documents the quicker we can get started with this process and the faster we can get your photography project started.
Part 5: How much will this cost?
How much is this house?
I’m not trying to be flip here, but clients working with professional photographers for the first time often approach the project based on their previous experience of hiring someone with a camera to show up and take some pictures. A commercial photo shoot is more akin to building a custom home, and so there are more steps involved, more decisions required, and therefore more time needed to accurately define the goals, requirements and artistic influences that will be used to create the finished product - from foundation to landscaping.
First presented with a client’s initially undefined “dream house”, the commercial photographer is essentially the architect of a photography project. There are basic questions to be asked and answered to clarify the wishes of the client and the general requirements of the project, and then it’s the architect’s job to research, develop and present options and suggestions to fulfill, and enhance, that basic idea. Expect several meetings to gather information, define the scope and refine specifics. Allow time for the photographer to consider new information and develop ideas, solutions, and strategies for effective production. We are building your custom home from scratch. There are many potential solutions to each phase of your project - and the architect has to design, evaluate and itemize each phase individually while ensuring its successful integration into the whole production.
Are you concerned about cost? So are we. No responsible photographer tries to inflate the cost of a project by adding unnecessary expenses or suggesting frivolous or indulgent solutions. But we are tasked with developing creative solutions and there has to be a place for the presentation and discussion of various ideas or treatments as we refine the specifics that will be used for your project. This is why a series of fact-finding meetings or a phone conversation is essential - before an estimate can be created.
Clients who request a price from a photographer based solely on their internally-generated description of a project do themselves a disservice, and virtually guarantee a high, and more importantly inaccurate, first bid. This scenario excludes the photographer from applying his experience and creativity to the development of an affordable and executable concept and forces the experienced professional photographer to factor in the extraneous costs involved in managing and delivering an undefined project.
Likewise, clients who either have not defined a budget or who refuse to share an accurate range of expense with a photographer in the development phase of a project will complicate the process, squandering valuable time and resources (theirs and the photographer’s) in the pursuit of unrealistic expectations. Just as there are many options to consider in building a house that can influence the cost without compromising livability, there are also production options which can be incorporated into the final production strategy that accomplishes the goals while attending to budgetary needs and without sacrificing effectiveness. Let your photographer develop a photo solution that meets all of your needs, including your budget.
And so - how much is a photo shoot?
Once the concept is established and the project is defined, the estimate is simply math. Sorry for continuing the construction analogy, but at this point it comes down to time and materials, and the estimate is relatively easy to prepare. A 2-bedroom house is this much. Adding a pool is extra. Don’t need air-conditioning? You already own the lot? How about a moat? See what I mean?
The result is an accurate, itemized estimate that can be explained, understood, justified and evaluated. Would you like to spend less - what can be modified or removed? Did it come in lower than you expected? Where might you consider adding value or effectiveness to the end results that would justify some additional expense?
And so the answer to how much a photo shoot/production will cost is based on knowing exactly what we are being asked to produce. The more information and specifics you can provide a photographer, the more accurate they can be with the estimated cost. For example: Provide layouts or sketches, how many shots you need, provide an in depth description of what you’re wanting to communicate, provide example photos that convey the look and feel you’re wanting to communicate. Do you want video motion shots at the same time? Photographers do realize there are times you don’t have all the information you need, but are being pressured to get some numbers. If this is the case, you will most likely get a very loose ballpark estimate until you get more information.
An experienced photographer is usually willing to ‘ballpark’ a cost based on the experience of years of production as a way of qualifying a project before investing in the meetings and concept development, which are required for an accurate estimate. An inexperienced photographer will quote a price over the phone or in an email, and generally under-estimate the complexity and commitment required to deliver a quality product.
I can say with certainty that a client asking for a ‘day rate’, or requesting a price without having a conversation with the photographer, will end up with a wildly inaccurate idea of cost, and be missing the opportunity to have a professional image maker develop a custom solution for their photography needs. You’d be surprised what a short phone call does to quickly help get you an accurate cost.