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نویسنده: AliBina
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New Singapore Oceanarium on Sentosa Opens in July
By DPG Editorial Staff, May 26, 2025 @ 07:00 AM (EST)
Source: Straits Times
Singapore isn’t just home to Asia’s biggest dive show, ADEX. It’s also where—come July 23rd—you’ll find one of Asia’s largest attractions devoted to educating the public about the ocean and its inhabitants. The new Singapore Oceanarium—a rebranding and upgrade of the previous facility, S.E.A. Aquarium—will be about three times larger than its predecessor and will feature 22 zones. The oceanarium is part of Resorts World Sentosa, situated on the island of Sentosa in southern Singapore.While the centerpiece of the oceanarium remains the Open Ocean exhibit—an almost five-million-gallon enclosure containing sharks, rays, and thousands of other marine animals, and featuring a 120-foot underwater viewing panel—various new exhibits have been added. Among these is Ocean Wonders, home to one of the world’s largest Kreisel tanks, which is specially designed to house over 5,000 thousand moon jellies. Another is Whale Fall and Sea Mount, a deep-sea zone that uses immersive sights, sounds and live deep-sea habitats to educate visitors about how a whale fall becomes a life-giving oasis.
“More than just a new name, Singapore Oceanarium represents a bold transformation into a world-class ocean institute that inspires deeper knowledge, love and action for our oceans,” states the Resorts World Sentosa announcement. To serve that goal, the oceanarium aims to “push the boundaries of marine research” through partnerships with top academic institutions, including the National University of Singapore and the Earth Observatory of Singapore at Nanyang Technological University. In addition, a research and learning center, adjacent to the oceanarium, will provide “advanced facilities for scientists and researchers to conduct valuable research work and drive marine science outreach on-site.”
Resorts World Sentosa will soon be releasing information about forthcoming programs—and ticket prices.
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Prices on Nikon Products Increasing Due to Tariffs in the USA
You might recall a story we did on Leica sometime ago about how prices were going to be impacted by the tariffs levied in the United States.
Black and silver nikon dslr camera. Photo by Tusik Only That was an accessory that was already pricey which ballooned into something completely out of the reach of most people.
Now, Nikon is joining other companies and predicting increased prices within the next month in the USA in response to tariffs. This comes on the heels of a rising trend in the industry towards more and more expensive products anyway that are making things that much more difficult for the average photographer when it comes to sourcing and maintaining gear.
And it looks like things are only going to get more expensive from here unless something changes. Heck, even Apple is reportedly on the tariff block so smartphone photography might not even be a viable entry point for people wedded to Apple products.
But really none of this is anything new. If anything, it’s an accelerated trend we’ve covered here for years. As low-end products increasingly get phased out and the margins from high-end products bolster company bottom lines, it is only natural that the latter continues its march towards dominance while the former, even without tariffs, continues to face challenges.
So how much of a price increase are we looking at in total? PetaPixel reports that a similar phenomenon happened with Sony products, raising prices anywhere from 10% to 35% depending on what you’re looking at in terms of product. In other words, it’s either going to be mild or very noticeable.
Any thoughts on the rising cost of being a photographer are welcome in the comments.
We have some other news you can read at this link.
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Google’s New Stuff
It’s just crazy how fast this stuff is evolving…
The post Google’s New Stuff appeared first on Stuck in Customs.
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New York Enigma | SIGMA Blog
Dutch photographers and couple Sarah van Rij and David Van Der Leeuw create dreamlike worlds within the artistic traditions of surrealism, yet in a style undeniably their own. Elegant and cinematic, their imagery conveys an understated sense of mystery.
Their images exhibit an anamorphic, collage-like quality, often achieved by capturing objects distorted in reflective surfaces or by incorporating their own shadows to obscure or warp a scene. They are drawn to the visual density of big cities in their work and have recently published two books—one a personal project focused on New York, and the other a commission for Louis Vuitton featuring images taken in Seoul.
The photos presented here were captured in New York in December 2024 and created using only in-camera effects.
“In our street photography, we don’t just point and click,” David explains. “We try to create something different—something that highlights the surreal qualities of life.”
For Sarah and David, photography is about mood and leaving room for the viewer’s imagination. “When I started,” Sarah notes, “I was super into color, and I still am. Color can really set a mood,” she adds, explaining that, for her, art is “when I enter a room and I’m drawn to it because of a color, a shape, or a face.”
What makes their images interesting goes beyond gear and equipment. “It’s definitely not technical for us,” David points out. “We never apply tricks,” Sarah observes, adding, “Some people think we make double exposures, but we never do—all our photographs are in-camera.”
“A lot of our images are totally unplanned,” David says. For the work created with the Sigma BF camera, they went out in New York, staying close to each other but not photographing exactly in the same spots. At the end of the day, they looked at the images they had taken, made selections and pieced everything together.
New York is a city they know well and keep coming back to, having lived there for six months spread out over two years. Their latest book, Metropolitan Melancholia, came out of their stay in the city. “We feel very at home here,” David says, adding, “New York has a lot of art direction in the city. The colors are very beautiful.”
“It’s a unique city where so many people have arrived to start a new life and become American or a New Yorker,” Sarah says. That sentiment, Sarah observes, “offers a very interesting feeling for us.”
An element of New York that is essential to Sarah and David’s photographic approach is the city’s cinematic quality. They both love film and cite Alfred Hitchcock, John Cassavetes, Roman Polanski, and Michelangelo Antonioni as a few of their many influences. Their work is infused with this obsession, evident in its ability to tell a story within a single image.
Sarah and David are self-taught image-makers. “Neither of us attended a proper photography or art school,” Sarah says. “We both have our own paths into it.”
As a child, Sarah was surrounded by film and cinema. Her mother made sure she was exposed to the classics. David grew up in an art-filled home with a father who was a painter.
Both are kids of the 90s and early 2000s, a time of rapid change, with the rise of the digital era and increasing access to imagery through Tumblr and Flickr. That period “was a really important point for me,” Sarah says. It was then that she began to find her place in the visual world. “We got our first little phones with cameras, and I would always capture everything around me.”
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Patrick Fraser – A Photo Editor
The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own. I am drawn to personal projects that have an interesting vision or that show something I have never seen before. In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find. Please DO NOT send me your work. I do not take submissions.
Today’s featured artist: Patrick Fraser
My friend Phoebe called me and said would I like to come and take pictures in Kenya. She was co-guiding a group
that would be exploring biodiversity in a stunning part of East Africa. We would be based on a nature conservancy in the greater Serengeti surrounded by the cultural heritage of the Masai people.As I had never explored Kenya I jumped on a plane to Nairobi.
While I was there, I took pictures which told the story of the group who were traveling which they could use for their personal use.
I did however manage to capture a personal series of images which I thought would pair together well. We often were with local Masai people and in the village, we would run into nomadic tribes who were passing through.Once I edited my series I mixed local people, landscape animals and some off the western travelers. I saw similarities with us humans and the wild animals. The costume of the tribal people was particularly vibrant against the greens of the Mara.
Since returning I read the Peter Beard bio “Wild” which laid out his wild life and his love for Kenya. I definitely would like to return there, hopefully with my family sometime as the land and the animals are truly unforgettable.
To see more of this project, click here
APE contributor Suzanne Sease currently works as a consultant for photographers and illustrators around the world. She has been involved in the photography and illustration advertising and in-house corporate industry for decades. After establishing the art-buying department at The Martin Agency, then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies, she decided to be a consultant in 1999. Follow her on Instagram
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Keldan Announces Video 4XR and Video 8XR Lights, and RC2 Remote Control
Known for their high-end—but not especially compact—video lights, Keldan is addressing the demand for travel-friendly gear with the release of three significant products: the RC2, a diminutive version of their RC1 wireless remote control; and two handy remote-controllable lights, the Video 4XR and the Video 8XR.
Like its bigger sibling, the RC2 works wirelessly underwater but is shorter range: 2–3 meters (6.5–10 feet) as opposed to the 50-meter (165-feet) range of the RC1. As such, it is designed for lights mounted on the camera rig or placed within a short distance from the remote. Like the RC1, the new model has two independent brightness channels, each of which can address any number of lights simultaneously, and works with all lights in Keldan’s “XR” series.
With the new Video 4XR, Keldan hasn’t just upgraded their popular Video 4X light with a remote receiver; the new version also has a higher lumen output—11,000 lumens rather than 10,000 lumens. While the 4XR replaces the 4X in Keldan’s lineup, the previous version of the 8XR—which boasts a 20,000-lumen output and a color rendering index (CRI) of 86—sits alongside the new 8XR, which has a slightly lower output of 17,000 lumens but a significantly higher CRI of 96. According to Keldan, the high CRI makes the new 8XR the perfect light for shooting macro.
Available soon from retailers such as Backscatter, the RC2, Video 4XR 11000lm CRI86, and Video 8XR 17000lm CRI96 are priced at $640, $1,970, and $2,650, respectively. There are also now various bundles available, such as dual Video 4XR and RC2 for $4,280, and dual Video 8XR 17000lm CRI96 and RC2 for $5,640.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASERemote Control RC2
Our pioneer Remote Control RC1 has now a little brother, called RC2. The RC2 is smaller, runs on a single button cell and it is designd for short range use (Lights mounted on the camera or in proximity to the camera).
Wireless remote control
The KELDAN RC2 is a wireless Remote Control based on ultrasonic technology. It is available for Video 4XR / 8XR /18XR / 24XR series lights.
Outstanding features
- Range of 2m
- Control brightness individually on 2 channels
- Each Channel can address an unlimited number of lights
- Each Channel has a separate ID to avoid interference when multiple controllers are used at the same dive site
- Remote Control works with all “XR” series lights
- Easy mounting with M4 screw holes or with an optional Ball adapter
Many advantages when using a remote control
- No more swimming back and forth to adjust lighting
- Fast and easy control of your lighting
- Place the lights wherever you want
- Allows for new and more creative ways of shooting
- Works around the corner and through walls
- Saves battery life
4XR 11000lm CRI86
The popular Video 4X is now available as a remote controllable Video 4XR 11000lm CRI86. Even more powerful, containing superb 11000lm with an enhanced color rendering index of CRI 86. This is the perfect light for small and handy rigs.
Ready for wireless Remote Control
The Video 4XR light is ready for our wireless Remote Control, either the RC1 or RC2.
USB-C charge adapter
With the 4XR light we include a very travel friendly, small and lightweight USB-C charge adapater which allows to charge the Li-Ion battery from an USB-C charger with min. 30Watt output. Attention: The light is supplied with the USB-C adapter only but not with the USB-C charger.
LED technology with outstanding efficiency
The Video 4XR 11000 lm CRI 86 is equiped with an LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distibution is very even, resulting a color rendering index of 86 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:50.
Soft 110° beam
The light has a very soft and speckle free beam of 110° in water (120° in air).
Self-contained
The self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.
Small and lightweight
The design is optimized for very small dimensions and light weight. The complete set ads only 0.63kg (0.20kg in water) to your gear.
Tough Design
The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.
Travel Safe Li-Ion Battery
The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit.
Charge Display
The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).
8XR 17000lm CRI96We have added a high CRI version to our 8XR series lights. With its outstanding color rendering index of CRI 96, the Video 8XR 17000 Lumen is the perfect light for shooting macro. Of course it is ready for the RC1 and RC2 Remote Control.
Ready for wireless Remote Control
The Video 8XR light is ready for our wireless Remote Control RC1 + RC2.
LED technology with outstanding efficiency
The Video 8XR 17000 lm CRI 96 is equipped with a LED of the latest generation with a color temperature of 5600 Kelvin. The spectral power distribution is very even, resulting in a color rendering index of 96 CRI (Ra). A unique feature is the variable power with 9 settings with a brightness range of 1:80.
Soft 110° beam
The light has a very soft and speckle free beam of 110° in water (120° in air).
Self-containedThe self contained design makes this light very easy to use. There is no need for special mountings for the battery canister. The included bracket with ball mount allows easy mounting on standard arm systems.
Small and lightweight
The design is optimized for very small dimensions and light weight. The complete set ads only 0.87kg (0.30kg in water) to your gear.
Tough Design
The LED can not break and has almost unlimited lifetime. The integrated overtemperature protection allows safe use of the light in air. The protection circuit controls the housing temperature and the power will be limited to keep the temperature within a safe range.
Travel Safe Li-Ion Battery
The battery passed successfully the mandatory UN38.3 safety test as required by IATA and it is therefore certified for air transport. The capacity of this battery is below the maximum allowed capacity of 100Wh. It contains an integrated protection circuit against harmful conditions like over discharge, deep discharge, over current and short circuit.
Charge Display
The green charge level indicator displays the available relative charge. The two digit display shows the remaining time. While the battery is discharging, the display shows the remaining runtime in minutes (e.g.”18” = 18 minutes). When connected to the charger, the display shows the remaining charge time in units of 10 minutes (e.g.”18” = 180 minutes).
Bundles with RC2With the 4XR and 8XR series, we are offering bundles including two lights and a RC2 remote control. KELDAN does not promote this bundles on the KELDAN website but they can be ordered from a KELDAN dealer.
USB-C Charger 16.8V/1ADoes it sometimes annoy you when you need to pack a whole lot of chargers on a trip? Certainly no more with this one. The travel friendly USB-C Charge adapter is just what you need to travel. It connects to an USB-C charger with 30W or higher. With a weight of only 63 grams, it provides an output of 16.8V/1A and can charge all batteries of the 4 and 8 series.
Travel friendly, super small and lightweight USB-C charge adapter
Can be connected to a USB-C charger with minimum 30Watt output. It provides an output of 16.8V/1A. This charger is suitable for the following Li-Ion batteries:
- Battery4 Li-Ion 49Wh (Art. 1212) used with the Video 4X/4XR series lights, Charge time approx. 4 hours
- Battery8 Li-Ion 99Wh (Art. 1211) used with the Video 8X/XR series lights, Charge time approx. 8 hours
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AOI Announces UIS-P1 Strobe
AOI is now shipping its latest strobe—the UIS-P1. Boasting a guide number (GN) of 22, the new “midrange” flash features an aluminum, polycarbonate and fiberglass build, a ring-shaped flash tube, and fiber-optic connectivity. The strobe is powered by two 21700 rechargeable lithium-ion batteries and comes with a 1-inch ball adapter. There’s manual control on offer via a 10-step power knob with intermediate stops, while a self-orienting LCD display shows either remaining shots based on power selection in manual mode or power output in InTeLi mode—AOI’s proprietary TTL mode found on their UCS-Q1RC model.
InTeLi mode offers OM System RC TTL, Sony TTL, i-Macro, TTL HSS and M-HSS functionalities. The i-Macro (Intelligent Macro) function is designed to offer precise exposure for macro shooting; it was initially available for OM System cameras only, but now Sony cameras are also supported. Wide-angle photographers shooting TTL will also appreciate the InTeLi mode’s new “out of range” warning feature.
A diffuser comes as a standard accessory, while a reflector ring (“reduces beam angle and improves light output by +1 f-stop”) and a reducer ring (“narrows beam angle, limits light leaks, and reduces backscatter”) are offered as optional accessories. The strobe also features a 3,000-lumen LED continuous light with three power levels, offering a 90-degree beam angle and a color rendering index (CRI) of 90.
Available now from retailers such as Backscatter, the AOI UIS-P1 is priced at $900.
When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.
PRESS RELEASEAmazing Intelligence in the New AOI UIS-P1
AOI has unveiled its latest underwater strobe, the UIS-P1, targeting the mid-range market. Building on the success of the AOI UCS-Q1RC, which introduced RC Flash compatibility and broke conventions in underwater photography, AOI continues to set new standards. Managing Director Victor Tsui stated, “Despite competitors introducing products with similar form factors, designs, or capabilities, the UCS-Q1RC and UCS-Q1 remain best-sellers in AOI’s lineup.”
An “Intelligent Advantage”
The new AOI UIS-P1 leverages a beloved feature of the UCS-Q1RC: the AOI InTeLi™ mode. Widely recognized as one of the most consistent and accurate TTL modes in the underwater strobe market, it revolutionized underwater macro photography. Its standout feature, the Intelligent Macro (i-Macro™) function, offers precise exposure for macro shots and has become a game-changer, particularly when paired with the best-selling OM System Tough TG series.
What is the AOI InTeLi™ Mode?
The AOI InTeLi™ Mode represents the next generation of TTL flash compatibility, optimized specifically for underwater use. Calibrated to manufacturer’s specifications, it ensures consistently accurate exposures, surpassing previous generation of TTL. Underwater macro photography is further enhanced by i-Macro™, which was initially available for OM System cameras. Now, the AOI InTeLi™ Mode also supports Sony cameras, offering Sony TTL, i-Macro, TTL HSS, and M-HSS functionalities.
Bridging Technology and Creativity
Contrary to popular belief, research shows that underwater photographers readily embrace technological advancements to enhance their art. With the UIS-P1, AOI integrates the full suite of AOI InTeLi™ features, a bright ring-shaped flash tube, an intuitive user interface, and innovative functions, making it a standout performer in the mid-range segment. One new feature specifically benefiting wide-angle fans is the “out of range” warning when in TTL mode.
Keeping in mind that underwater photographers are multidimensional, AOI has designed three additional product add-ons that will allow the strobe to be more utilitarian:-
Diffuser – Softens light output and evens out light coverage (Offered as standard accessory).
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Reflector Ring – Reduced beam angle and improves light output by +1 F-stop (Offered as optional accessory).
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Reducer Ring – Narrows beam angle, limit light leaks, and reduces backscatter (Offered as optional accessory).
Specifications & Features
AOI InTeLi™ Mode:
Full Manual Mode:
High Performance:
User-Friendly Features:
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Self-orienting TFT LCD display screen
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Displays remaining frames based on power selection
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Displays power output in InTeLi™ Mode
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Provides access to settings menu
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Colored indicator for strobe operation status
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Tactile and Intuitive Knob and Button Controls
Durable Build:
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Materials: Marine Grade Aluminum alloy, Polycarbonate with Fiberglass
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Depth-rated to 100m
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Sealed battery chamber to isolate electrical components from water damage should flooding occur.
Battery and Performance:
The new AOI UIS-P1 is set to light up the underwater photography scene for the mid-range segment with its InTeLi™ mode—offering ‘intelligent’ performance, user-centric design, and an affordable price point.
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Bringing the Sigma BF Home: Everyday Photography with Style
Photographer Meg Loeks with the silver Sigma BF camera and 50mm F2 lens. What’s not to love about the new BF camera by Sigma? With a strikingly sleek aesthetic, a solid aluminum build, and a minimalist design, it’s as durable as it is intuitive.
When I’m out with my children, I need a camera that feels like an extension of myself. I want it to feel like second nature, effortlessly there for every moment. The BF camera is just that and more. From playful afternoons at the arcade with my son to breezy moments at the beach with my daughter, this beautiful, stylish camera lets me stay present and focus on what matters most.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 400
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/2500s, ISO 100If I had to pick just two words to describe the BF camera it would be sophisticated and effortless. The sleek, modern design is visually appealing. With looks this good, it could double as modern home decor. This camera’s minimalist design ensures it remains effortlessly user-friendly. A camera doesn’t have to be complicated, and Sigma ensures that with a simple yet stylish aesthetic.
The Sigma BF is as durable as it is intuitive. Compact and lightweight, the body is suited for life on the go, making it an ideal everyday companion. Though lightweight, the camera boasts a sturdy construction and solid build which is especially favorable for a photographer like me who’s often out chasing adventures with my kids in tow.
I’ve always found that composing through the LCD screen gives me a clearer sense of my frame. One of my favorite features is that there are no memory card slots. The seamless, internal storage design once again makes everything feel effortless. With no cards to manage, it truly keeps things simple and worry-free.
And as someone who rarely ever uses a viewfinder, I also appreciate its omission allowing for a more compact, sleek camera design and modern LCD screen. As a photographer specifically specializing in children’s portraiture, I’ve always found that composing through the LCD screen gives me a clearer sense of my frame. Not to mention, helping me capture key moments without missing a beat.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/2500s, ISO 100
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 250The camera’s continuous capture rate is swift at 8 frames per second. I occasionally found it too quick, in fact, and switched to single capture for more precise control. When my children were on the move, continuous capture was indispensable for freezing those fast-paced, fleeting moments. The autofocus accuracy in low-light conditions, particularly when my son was darting around the arcade, was nothing short of impressive.
The Sigma BF also camera features automatic face and eye detection for both people and pets, enabling seamless subject tracking. What’s more, the function is active by default, further streamlining the friendly user experience.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 400
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 250For more precise control, I could switch to single point focus whether in single or continuous autofocus modes. While the autofocusing features of this camera are more curated, they’re ideal and efficient for anyone on the go, allowing for more time to stay immersed in the moment rather than fumbling with countless focus settings.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2.5, 1/160s, ISO 125Another feature I genuinely love is the touch screen focusing. It’s something I’ve frequently used in the past, so I was pleased to see it thoughtfully included in this camera’s design.
The BF feels like the perfect travel companion, equally at home when you’re doing everything or nothing at all. Last but certainly not least, the image quality is outstanding. Given the Sigma BF camera’s minimalist design, I was thrilled by how sharp and detailed the photos turned out. Even in low light conditions, the clarity and definition held up beautifully. I was also really drawn to the camera’s film-like color rendering. It brings a nostalgic, cinematic feel to images that’s intentional and beautiful.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/2500s, ISO 100
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 640
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 320Sigma unveiled nine updated prime lenses that color-match the sleek BF camera to maintain a cohesive look. My go-to portrait lens is the 50mm F2 DG | Contemporary, and I was consistently impressed by its focusing performance in a range of challenging lighting conditions, from low light to backlight, while my children were constantly on the go. The bokeh was smooth and round, adding to the overall sense of magic I was able to capture. From icy mornings in our yard to playful adventures at the arcade, the bokeh quality enhances the overall mood and atmosphere of my images.
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/2500s, ISO 100
SIGMA BF CAMERA
50mm F2 DG | CONTEMPORARY
F2, 1/200s, ISO 640Though its minimal design is far from ordinary, this camera is perfectly suited for everyday moments. Its thoughtful design and sleek aesthetic make it ideal for those who value both form and function. It feels like the perfect travel companion, equally at home when you’re doing everything or nothing at all. There’s beauty in keeping things simple, and Sigma makes that possible with the BF camera, letting you stay immersed in the moment rather than gadgets and settings.
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Business Owner Portraits For A Beverage Brand – A Photo Editor
By Craig Oppenheimer, Wonderful Machine
Each month, we explain a recent cost estimate, contract, or purchase order in the form of a Pricing & Negotiating article. By redacting the names of the photographer and the client, we can share useful information that would otherwise be confidential. You can read more about our Pricing & Negotiating services on the Consulting Services page of our website.
Concept: Portraits of business owners, and images of them interacting with products at a manufacturing facility
Licensing: Unlimited use of up to 30 images for five years from first use
Photographer: Portraiture specialist
Client: Beverage brandSummary
I recently helped a portrait photographer create an estimate and negotiate a project for a beverage brand. The client was launching a new product within a larger portfolio of beverage companies and wanted to capture portraits of business owners interacting with their products at a manufacturing facility. The images would help tell the story of the product’s origins and the people behind it.
The shoot took place over a single day and focused on five main setups with variations on the same themes. The photographer and crew worked to capture 30 final images. Although the client initially requested unlimited use across all media, based on the creative brief and our discussions, the images were primarily intended for use on their website and social media. While they were not willing to restrict media use, we did convince them to limit the duration of use to five years.
Fees
Traditionally, photographers in this market have undervalued usage, and local clients, such as this one, were accustomed to more conservative rates compared to other major markets. I priced each of the five main setups at $1,500, totaling $7,500, and added a creative fee of $2,500, bringing the total fee to $10,000.
Crew
We kept the crew lean, including a first assistant for both the scout and shoot days and a Digitech for the shoot day, all at rates appropriate for this market.
Styling
After a call with the agency, they asked that we include light prop styling in our bid, with a dictated prop budget of $750. We factored in a prop stylist for both prep and return time, in addition to the shoot day, and detailed the prop budget as instructed, while noting that the final amount would depend on the creative direction. We also added a hair and makeup stylist and noted in the “client provisions” section at the top of the estimate that the client would be handling their own wardrobe.
Equipment
We allocated $1,000 for the rental of the photographer’s own gear as part of the production.
Misc.
We allocated $750 to cover mileage, parking, meals, and any other unforeseen expenses on the shoot day.
Post-Production
We allocated a few hundred dollars for the photographer’s time to create a web gallery for the client and set a rate of $100 per image for retouching, allowing up to one hour per image for each of the 30 images they would select.
Feedback
The estimate was received well, but they asked if we’d be willing to reconsider the time limitation and grant perpetual usage. I suggested that we at least double the photographer’s fee, but we ultimately included an extra $5,000, bringing the total creative/licensing fee to $15,000. While I would have preferred a higher fee, I think the shelf life of these images would likely have been around three years.
Results
The photographer was awarded the project.
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