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برچسب: Brand

  • Estimate Review Of An Employee Lifestyle Library For Global Beauty Brand – A Photo Editor


    By Andrew Souders, Wonderful Machine

    In addition to helping photographers build price quotes from scratch, Wonderful Machine offers an Estimate Review service on existing quotes that photographers have created themselves. It’s often helpful to have an extra set of eyes and credible insight to polish up your price quote before sending it off to a client.

    Just as with our other Pricing & Negotiating case studies, we redact the names of the photographer and client, which allows us to share valuable and educational information that would otherwise be confidential.

    Concept: Two-day employee portraiture and lifestyle library shoot for social, internal, and recruitment materials
    Licensing: Perpetual worldwide Web Advertising, Publicity, and Collateral use of up to 100 images
    Photographer: West Coast-based lifestyle and portrait photographer
    Client: International beauty and personal care brand

    A West Coast-based photographer was recently approached by a global beauty brand to capture candid and environmental portraits and lifestyle images of employees over two shoot days. The 100 final images would be used across a broad range of platforms — including career websites, social media, digital ads, internal presentations, publicity, and print collateral like career fair flyers.

    While the scope of the project resembled other projects this photographer had worked on in the past with other clients, this project was for a more high-profile client with greater licensing needs and a bigger budget. The photographer asked us to help refine their estimate and determine appropriate creative and licensing fees commensurate with the project’s scale and client expectations.

    Scope & Usage

    The project called for two shoot days. The first would take place at a local retail location before business hours as a shortened half-day, while the second was planned as a full day at the brand’s nearby corporate offices. The client would handle casting, scheduling, styling, and shot list development.

    While the requested usage rights were broad, they were primarily planned for web collateral, internal communications, and printed materials for recruitment efforts such as career fair flyers, with the exception of some digital advertising, which we expected to remain relatively limited and would not include any POS, OOH, or Broadcast use. Given the compressed timeline for shoot days and the volume of final deliverables, there was a clear need to structure the shoot efficiently. At the same time, it was important to balance the project’s production needs with an appropriate creative and licensing fee that reflected both the scope and intended use.

    To help add context to what we reviewed and advised on, I’ll include the photographer’s original estimate format and agreement language below:

    Photographer’s Draft Estimate

    The expense total came to $12,040 and was modeled after past projects for similar clients with similar deliverables, but those projects had more limited usage and smaller client budgets. Recognizing that the licensing in this case was broader and likely held more long-term library value for the client, the photographer also consulted with me for guidance on how to properly structure the creative and licensing fee portion of the estimate alongside the rest of the production costs.

    After reviewing the intended usage and factoring in the compressed timeline for capturing such a high volume of deliverables, we recommended introducing a creative and licensing fee in the range of $20,000 to $30,000. This range felt like a fair balance that accounted for the breadth and duration of usage for a library of images, while still reflecting the relatively straightforward nature of the shoot from a creative standpoint.

    Revisions and Recommendations

    After a detailed review of the scope of the project and the licensing terms, I worked with the photographer to revise the estimate. We incorporated a $22,000 creative and licensing fee that reflected the value of the deliverables and requested usage. We also recommended increasing the retouching budget to $5,000 to account for additional retouching and polishing work that might be required for final selects, such as potential logo removal from employee outfits. The fee for preparing a gallery for client review was adjusted to $1,000 to better represent the time and labor involved for this number of images. We also added scouting fees for both shoot locations – $750 for the photographer and $650 for their assistant.

    The rest of the production expenses, including crew and equipment rentals, remained consistent with the photographer’s original approach, although we reorganized how it was presented to provide more clarity. While we discussed the possibility of bringing on a second assistant to help maintain an efficient pace on set, the photographer chose to keep the crew lean to remain flexible in potentially tight environments.

    We see this a lot, where a photographer has experience working on smaller projects for smaller clients. When a big client comes along with a big project, they’re often not sure what to charge. Once we took the expanded licensing and long-term library use into account, there was a clear opportunity to revise the fee structure to better match the value being delivered. These revisions brought the total estimate to $38,440.

    Below is a revised version of the estimate that reflects my recommendations.

    Treatment

    We also encouraged the photographer to submit a treatment to accompany their estimate. Though not specifically requested by the client, it helped communicate the photographer’s interest, approach, aesthetic, and overall sophistication. The document featured example images, described lighting and post processing, and showed that the photographer understood the brand.

    Outcome

    The photographer submitted the estimate and treatment, and shortly afterward, was awarded the project. Reflecting on the process, the photographer shared that our collaboration helped them feel more confident in how they framed the value of their work, especially for high-profile clients

    While the core production approach remained largely unchanged, the creative/licensing fee, retouching budget, and presentation were strategically refined to better reflect the project’s scope and value.

    This project is a strong example of how a modest investment in estimate refinement can help land a significantly higher fee for the photographer and set a new benchmark for pricing future projects.

    Follow our Consultants @wonderful_at_work.





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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 brand

    Summary

    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.

    Follow our Consultants @wonderful_at_work.





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  • Portraits And Still Life Images For Cosmetics Brand – A Photo Editor

    Portraits And Still Life Images For Cosmetics Brand – A Photo Editor


    Concept: Portraiture and Still Life Images for Cosmetics Brand
    Licensing: Unlimited use of all images captured for one year
    Photographer: Beauty and Still Life specialist
    Client: Cosmetics brand

    Summary

    I recently worked with a photographer to help them develop an estimate for a campaign promoting a cosmetic brand’s new product. The brand wanted still life images as well as images of the product in use by professional talent in a studio setting. The creative brief called for a mix of minimal setups against a white background, along with a few scenarios that involved prop styling and set design.

    Fees

    The client initially presented a shot list that included eight main shots. One of the shots was identified as a key visual while the others were considered supplemental. Although they requested unlimited use of all images, they were willing to limit the duration to one year.

    I felt the key visual was worth $5,000, images 2-3 were worth $2,500 each, and the others worth $1,000, totaling $15,000. I had wanted to include an additional few thousand dollars as a creative fee. We understood, however, that we might be pushing the limits on the fee as it was. Ultimately, my goal was to keep the bottom line in check and stay under $50k total.

    The agency, surprisingly, asked us to include a licensing option specifically for 110% of the one-year rate to include a pre-negotiated rate for a second year. In most cases, when pre-negotiating a duration extension, I’m accustomed to a request for a reduced rate compared to the original fee. I clarified this request on a call with the agency art producer. Sure enough, they explained that they’d be willing to pay 110% for an additional year, so I included that cost for the licensing and for the talent.

    In addition, the client requested we present a firm bid, rather than an estimate. I noted this at the top of the document. In this scenario, the photographer keeps any unused funds if the cost of the production is less than anticipated. This also means, however, that they would need to cover any overages if expenses were higher than anticipated. Overall, we were very confident in these fees/expenses based on the working relationships with the specific crew members, styling team, casting director, talent agents, and locations we anticipated working with.

    Crew

    Although the production was rather straightforward, we included a strong team to help quickly execute the vision. To that end, we added a producer, first assistant, second assistant, digital tech, and production assistant, all at rates appropriate for the specific market.

    Styling

    The creative brief definitively called for a prop stylist to create a few background elements and manage the products. The photographer already had a local stylist they wanted to work with. We included rates we received from them, which included their prep, shoot and wrap time. There was a need for very minor wardrobe styling, and this prop stylist was able to take on both roles. Separately, we detailed the anticipated prop and wardrobe costs, along with their kit fees and miscellaneous expenses potentially incurred in the process of acquiring all of the necessary items. We included a hair/makeup stylist and, as there were a few shots that involved close-ups of the talent’s hands holding the products, we also included a manicurist.

    Casting and Talent

    I included a rate received from a casting agent to help us find one subject based on the talent specs provided by the agency. The agency planned to pay the talent directly, but I discussed an appropriate talent fee with the agency producer. I noted this in the line item without having that line item impact our bottom line since the billings would go through the agency.

    Locations

    We included $2,500, which would allow us to afford a generously sized studio in this particular market.

    Equipment

    We included appropriate rates for the rentals the photographer would need in order to execute the creative vision. In addition, we also included fees for the digitech’s workstation as well as production supplies to make everyone comfortable on set.

    Meals

    I based this on $80 per person for 19 people, which included breakfast and lunch.

    Misc.

    I added $500 to cover any unforeseen expenses. We also noted a fee for insurance, which the agency specifically asked that we include. I often calculate insurance fees based on 1-2% of the bottom line.

    Post-production

    We just included a fee for the photographer to perform an initial edit of the photos and help make selects because the agency would handle retouching. As a separate fee, we included a line for hard drives, delivery, and archiving.

    Results

    The photographer won the project. Shortly after, however, the shoot was postponed, and then quickly brought back to life with an increased scope that included two talent. This increased the shot list in addition to production expenses. As a result, we increased the creative/licensing fees by 50%, added a producer pre-production day to handle the changes, increased wardrobe, added another manicurist, added a hair/makeup stylist assistant, and increased casting and talent. We also were asked to include some extra equipment to help facilitate remote viewing by a few clients who would be unable to attend the shoot in person. Here is the final estimate, which was approved:

    Follow our Consultants @wonderful_at_work.





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  • Check Out My Brand New Online Photography School!

    Check Out My Brand New Online Photography School!


    A couple weeks ago, I asked my subscribers to let me know what kinds of online photography courses they’d like to see me teach, and I got some incredible feedback! After reading hundreds of answers, I have some solid direction about how to proceed, and I’m looking to start filming some brand new courses in the next few weeks.

    With that in mind, I’m excited to announce the launch of my brand new online school, which features a free course, called Creative Color Techniques for Photographers and brand new options for personalized individual coaching.

    My Signature Course – Now in 3 Flavors!

    In addition, I’m now offering 3 different options for my signature 30-lesson course, Photography On The Brain, that are designed to better match a variety of budgets and commitment levels.

    ESSENTIALS gets you unlimited access to all 30 lessons and downloadable PDF assignments, at the lowest price I’ve ever offered. (Even lower with the discount below!) 

    WORKSHOP adds full forum access where you can share you own insight, post your images for critique, and get input from me and other students. 

    MENTORSHIP goes even deeper by adding personal coaching with a series of 4 one-hour video calls. This is the ultimate way to keep your motivation up and get targeted instruction and insight as you progress through the lessons. 

    Photography On The Brain is still the most thought-provoking instruction on composition and creativity that I’ve ever offered. 

    I cover such a wide variety of topics that you are guaranteed to come away with a huge batch of new ideas, confidence and inspiration.  

    If you want to be better at composition gain more creative confidence, then I strongly urge you to check out this course, because I know it will help you expand your creative skills in a big way.  

    Go Deeper with Personal Coaching

    I’m also unveiling my brand new PERSONAL PHOTOGRAPHY COACHING SESSIONS. 

    With three different video call options that range from 30-minute Quick Coaching sessions, 60 minute 1:1 sessions and an extended series of 4 one-hour monthly sessions, I can give you one-on-one advice, targeted instruction, and provide critiques, direct feedback and direction that will help you progress in your current photography life. 

    Whether you just need quick answers about a specific topic you’re struggling with, insight about how to better apply a certain creative technique, or if you want more in-depth feedback and ongoing follow-up, this is an incredible option for learning. 

    Awesome New Course Interface and iOS App

    I’m so excited about my new course site, which is built with the Teachable interface. The user dashboard and lesson pages are so easy to navigate, and they look great! You can view the lesson videos and assignment briefs with unlimited access on any device, and there’s even a free iOS app you can use for streamlined viewing of lesson material when you’re offline. 

    I actually did a 12-week online singing/vocal course last winter that was built with the the same framework, and I was really impressed by the clean format and ease of access that Teachable offers. That’s why I’m using it for my own courses, and I think you’re really going to like how it looks and functions.  

    Limited Time Launch Discount!!! 

    Finally, to celebrate the launch of my new course site, I’m offering my readers a special limited time discount code for Photography On The Brain.  

    Use coupon code LAUNCH20 at checkout to save 20% on either theESSENTIALS or WORKSHOP tiers. (This code is only good for the next two weeks.)

    My readers have been incredibly supportive over the years, and that’s why I’m so excited about my new course site. I know that you guys like to learn from me, and you deserve the best possible user experience to access and absorb the information that I share.  

    I’m looking forward to building and uploading more courses in the coming weeks and months, but for now, I encourage you to check out the site, try out my free color course, and the share my courses with your other photographer friends.  

    Thanks so much for reading and take care.



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