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:
This seems like a good time to remind everyone that the photography industry had a brief “me too” moment back in 2018-2020.
Several big photographers were named in a couple of excellent articles in the Columbia Journalism Review by Kristen Chick and Vox by A.J. Chavar.
I’m sure there are many who never came forward because while the initial outrage caused the named to disappear and delete all their social media, they soon crawl back. Two people I’ve been following are David Alan Harvey and Patrick Witty.
In the article by Kristen Chick, “Eleven women have described to CJR inappropriate behavior from David Alan Harvey over a span of thirteen years, ranging from suggestive comments to unwanted sexual advances to masturbating without their consent on video calls.” His agency, Magnum, was told about it and sat on the information for a decade before suspending him.
So what is David up to now? He’s very active on Threads, where he has 57,000 followers. On Instagram, his account is private, but he has 441,000 followers. On his website, he’s selling prints, has five in-person workshops slated for 2025, and offers online mentorships.
In the article by A.J. Chavar that talks about Patrick Witty: “I spoke to more than 20 people — some of them friends of mine in our shared industry — who said they experienced unwanted interactions with Witty, witnessed the inappropriate behavior, or were told details at the time the events occurred that corroborated the women’s stories. These stories included accounts of unwanted touching, kissing, and other advances at a variety of professional events during and prior to Witty’s employment at National Geographic.”
So what is Patrick up to now? Semafor is reporting that he’s been hired by the White House. Prior to that he was very active on Instagram with 72,000 followers, Threads with 12,000 followers, and has a substack with 3,300 subscribers where he lists his bonafides as a photo editor at National Geographic, WIRED, TIME, and The New York Times.
Do I think these people should be cancelled for their alleged creep-ass behavior that potentially ruined the careers of 30 women plus countless others who headed the other direction once the alarm sounded in their heads?
YES.
But you can do what you feel in your heart. When I brought Patrick’s behavior to the attention of “A Photographic Life” podcaster Grant Scott (former AD at Elle and Tatler) and his host Bill Shapiro (former EIC at LIFE), after they quoted him in a podcast, they refused to remove the quote or take down the podcast where they recommended people subscribe to Patrick’s Substack. Bill has subsequently become chummy with Patrick on Threads, engaging him in conversation on several occasions.
If that weren’t enough, in a subsequent podcast, Bill Shapiro quoted Bill Frakes who has a Wikipedia entry that states “The University of Nebraska–Lincoln (UNL) found that Frakes engaged in sexual misconduct and sexual harassment while he was a visiting professor. Frakes was found to have made unwanted comments about women students’ bodies and clothing according to a document obtained by The Omaha World-Herald.”
I think it’s important not to memory-hole what happened. Grant Scott told me he had no idea about Patrick since he works in the UK. Bill Shapiro just told me I was being mean. If industry leaders, despite their cranky old age, refuse to acknowledge the hard work of journalists and the women who brought this information to light, there’s no reason this behavior won’t persist. Personally, I refuse to forget that our male-dominated industry creates challenges for women, and we need to continuously work to rectify that. Lets not erase the work that has already been done.
Heidi: You’re a multifaceted creative, synthesizing photography, filmmaking, painting, composing, and creating music. How does each skill inform the other? Joseph: For me, it all began with the piano. I started playing at a very young age, and at the same time, I was the kid that sat in the back of the classroom sketching everything, with my head in the clouds. As I progressed musically and artistically through many years of classical piano training, I found that being a pianist unlocked a series of other doors in the realm of creativity. I became more attuned to nuance, emotion, atmosphere, and the contrast of light and shadow. This innate understanding, thanks to studying the likes of Satie, Ravel, and Rachmaninoff, as well as diving into the works of Sargent, Bouguereau, Avedon, Lindbergh, Koudelka, and Salgado allowed me to jump right into painting, photography, and cinematography, spending many years honing each skill to the point where I find myself “medium-agnostic.”
I’ve been told many times that I risk being a jack of all trades when I don’t focus on one thing. That never sat well with me. I’m much happier and more productive when I can switch mediums depending on what I want to express. I look at the Renaissance for inspiration, where multi-faceted creativity was celebrated and surpassed the limitations imposed by the expectations of a single and defined profession. When I was training as a cinematographer with the late Vilmos Zsigmond, he taught me to paint a set with light. First with the wide brush strokes of large sources, creating deep contrast that can be felt with eyes closed, then rendering details with smaller sources. Vilmos was widely known for his distinct visual style, often referred to as “poetic realism” and his mastery of cinematography came from a deep understanding of the human condition. A reflection here, a shadow there, making a composition sing with light and shadow, and somehow tapping into the unknown. That felt just like composing for the piano to me, or connecting deeply with a subject matter in photography.
Even as my photography and cinematography careers took off, I never stopped making music, having released two full-length albums of original piano compositions and currently working on my third. I’m deep into painting as well, studying at an atelier in Los Angeles with a focus on realism. I strongly believe my work in other mediums has ultimately made me a better photographer and cinematographer. Being a multi-disciplinary artist has also heightened my sensitivity and empathy substantially, and I find that I can usually connect with my subjects and clients effortlessly when making portraits or photographing commercial campaigns or assignments.
How do you manage your creative resources as you’re wildly prolific? It’s always a challenge, but with the right amount of time management, anything is possible! When not on set, my days are divided into 4-hour sections where I balance client interactions, admin time for my business, personal creative projects, and most importantly, parenting. I also have “seasons” where I’m focused on one medium over another. For example, a typical week would entail prepping for a shoot, being on set capturing campaigns for major brands, managing post production, and being present and very much focusing on my seven-year old daughter. I’ve also recently joined the board of directors at APA-LA, so that’s been keeping me busy with new opportunities to serve our photo community. So I tend to compose at night, with headphones on, and after many months when I’ve had everything dialed in and written down, I would go to a fantastic studio here in LA and record everything in just a few days. On weekdays when I’m not on a shoot or in pre-pro, I will typically be painting or working on a personal photography project.
For inspiration, I find that the ocean does incredible things. I’ve taken up sailing, and will hop on my friend’s timeshared 36-foot sailboat once or twice a month to cut through water with some dolphins in Santa Monica Bay whenever I feel creatively stuck. It’s also been tough to stay creative with the horrific current state of the world, so lately I’ve been turning my lens onto environmental issues I care deeply about, such as the human impact on the polar regions and ocean conservation. That comes with an inherent sense of purpose, which is even more fuel for creativity. No matter what it is I’m doing, it always feels like a race against the clock as I tend to work in big bursts of energy, which I somehow channel like an antenna in a thunderstorm!
When you are composing music, are you seeing images? Yes! It’s hard to describe perfectly. Sometimes I’m seeing nostalgic images that have velvet edges and blue, purple and magenta hues. Other times, I feel a heavy weight in my chest that flows through my fingers until it all exists outside of me. I also see light and shadow, or more accurately, I sense contrast. There is a lot of pain and beauty inside and outside of us, it’s everywhere, and I tap into it very deeply. Sometimes that manifests as colors and imagery, other times as a force that propels you or pulls you in like a freight train or a black hole.
Is the inverse also true, that by creating imagery you hear music? I don’t hear music when making images, though I love to have good music on in a portrait session. Especially something that will influence the direction I want to take the work in. I do often get the same feeling in my chest while on set though, that intuitive push/pull towards the desired outcome of the work, especially when it comes to light and contrast.
Tell me about your upcoming project Midnight Sun, what is it and how did it come about? I began work on Midnight Sun three years ago. It’s essentially a collection of personal images captured during assignments in Antarctica and the Arctic. In this work, I wanted to not only focus on the epic natural beauty of these remote regions but also the pressing issues of human impact, militarization, over-tourism, mining, and the effects of colonization on indigenous communities. The experience of visiting the Antarctic and the Arctic have been nothing short of life-changing for me. It ignited a sense of purpose and urgency to take my personal work in this direction, despite being a commercial photographer and cinematographer for most of my career with little experience in landscape photography and reportage. So I tried to keep everything authentic to how I see and feel things, which led to shooting this typically more documentary-style subject matter with more of a fine art aesthetic.
Midnight Sun is taking the form of a book and a music record – the images for the most part are devoid of people, a contrast to your commercial work. How did you expand creatively during that project? Midnight Sun, while (mostly) devoid of people, is really all about humanity! It’s about our relationship to nature, our need to dominate and conquer resources, and our incessant urge to impose our way of life on indigenous communities. But it’s also about the beauty and fragility of our planet, our responsibility as stewards of the Earth, and our spiritual growth as a species going through some tough transitions. I experienced all of those things while in the polar regions and it completely transformed me and how I view my role as an artist in this era. The work is complete and is currently being shopped around with several publishers in proposal form. I am also deep in the process of composing my third record, which will accompany the book as a “soundtrack” of sorts. Unlike my last two albums, which were primarily classical piano records, the Midnight Sun record will have a more orchestral and “cosmic” sound that comes from the use of analog synthesizers along with acoustic pianos. It is influenced by more modern composers such as Vangelis, M83, Yann Tiersen and Max Richter, but infused with my own personal style of classical piano. Like the last two albums, I’m planning on releasing it on vinyl along with the book, as well as a boxed set.
How did the Lecia relationship begin, and what are you working on now? I’ve been photographing my personal work with a Leica M6 since the mid-2000’s. This led to a book I published in 2019 called “Onward,” which is a collection of black and white images captured while on the road for 12 years as a cinematographer on travel assignments, mostly taken with my M6. Along with several great bookstores such as Hennessey + Ingalls, Skylight Books, and William Stout Architectural Books, Leica LA and Leica NY began to carry the book, which has done really well and almost sold out the first edition. I also had the opportunity to work with the late John Kreidler early on in my photography career, and he became Leica’s director of education well before he passed away last year. He was kind and gracious to me as always, and introduced me to some wonderful people at Leica. Then there’s the amazing Paris Chong! The curator at Leica Gallery LA, who is an absolute gem in our industry. She has been instrumental in guiding the direction of my Midnight Sun project, and I’m very grateful for her insight and encouragement.
On a related note, I use Leica’s SL-series cameras and lenses for all my commercial photo assignments, and all of Midnight Sun was captured with the same cameras and lenses as well. Those cameras and lenses have been incredibly compatible with how I make images, with beautiful color science and deep, rich blacks that make the images feel like you can dive right into them. I also often use Leica cinema lenses in my cinematography work. Essentially, I view Leica as a partner on both the artistic and the technical side to keep my photography evolving into the future.
With commercial work, have you found it necessary to narrow down what you’re known for? My commercial photography and cinematography work is also wide-ranging. I’m interested in so many things, especially in authentically capturing images of people doing things. So in a given month, I find myself working on fashion campaigns, editorial portrait assignments, automotive campaigns, advertorial portraiture for healthcare and technology companies, lifestyle image libraries for brands, and even underwater work, such as the two Toyota commercials I shot for the Olympics featuring members of the USA swim team. I’ve always been a hybrid shooter, so while I’ll either come onto a union commercial as cinematographer, or capture an advertising campaign as a photographer, I’m most often doing both and have been developing and building a signature workflow for hybrid campaigns for many years, to the point where it’s what I’ve become known for and what I naturally gravitate to, work-wise.
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 Building Estimates service on the Consulting Services page of our website.
Concept: Executive Headshots and Environmental Portraits Licensing: Perpetual Publicity and Collateral use of 7 images Photographer: Portrait and Lifestyle Specialist Client: National Grocery Store Chain
Summary
I recently collaborated with a photographer to develop an estimate for a corporate portraiture photoshoot for a US-based grocery retailer. The project’s goal was to capture the authenticity, approachability, and leadership of the company’s Chairman/CEO and President/Vice-CEO.
We planned for the shoot to take place in a single day at a store location in the Southwestern US. The client would plan to coordinate the schedule to minimize disruption to store operations and, at the same time, allow the photographer to accomplish everything they needed to.
Deliverables included 4 high-resolution headshots and 3 environmental portraits, all licensed for perpetual publicity and collateral use. They intended for these visuals to enhance the company’s marketing materials, reinforce its brand ethos, and connect with its customer base on a more personal level.
Fees
The client’s brief outlined a need for Publicity and Collateral use for the imagery, which informed the pricing structure. We determined that perpetual usage rights were appropriate for this particular project.
Perpetual usage relates to the duration the client can use the images. Perpetual usage means the client can use the images indefinitely. But, the usage is still confined to the agreed-upon media (in this case, publicity and collateral).
Unlimited usage, on the other hand, implies no restrictions on the type of media placement, often making it broader usage for things like paid advertising.
Why Perpetual Usage?
Leadership portraits don’t stay relevant forever. Executives update their photos every few years, so setting a time limit on usage would likely expire after the images are already outdated.
It simplifies things for both the client and the photographer. No need to track expiration dates or negotiate renewals for images that won’t be used long-term anyway.
It encourages repeat business. Even with perpetual rights, occasional leadership changes (just in the age and look of the person, or who’s in the actual role itself) mean new photos will be needed. Making the process easy builds goodwill and increases the chance they’ll return to the same photographer.
The intended use is long-term but not commercial. Since these images are for PR and internal branding (not paid advertising), perpetual licensing makes sense — it’s a one-time cost for the client, with not much downside for the photographer.
The creative and licensing fee was set at $3,500, a rate reflecting the project’s somewhat smaller scope balanced with the longevity of the usage rights. We also included a tech/scout day, priced at $500, to allow the photographer to familiarize themselves with the location and refine logistical details.
Crew
We included a first assistant at $500/day, with an added 25% payroll fee, bringing the total to $625 for the shoot day. Given the shoot needs, the inclusion of the photographer’s trusted first assistant to handle equipment setup, lighting adjustments, and management of digital workflows was of great importance.
Styling
We allocated $875 for a men’s groomer/hair and makeup stylist to be present on shoot day. This role would also include light wardrobe adjustments, providing the professional polish necessary for high-quality headshots and portraits.
Equipment
We allocated a conservative budget of $250 to cover any supplemental equipment needs. The photographer owned most of the required equipment, but additional backdrops were necessary to achieve the desired aesthetic for the headshots.
Misc.
To cover incidental costs such as meals, parking, and mileage, we included a budget of $200. We noted these expenses were to be billed at cost to provide flexibility while maintaining transparency.
Post-Production
We budgeted $300 for the initial edit and client review, hosted on a web gallery. We allocated an additional $700 for retouching seven selected images, priced at $100 per image to include up to one hour of retouching work each. This process ensured each image met the client’s expectations and upheld the brand’s standards.
Results
The photographer was awarded the project, and the shoot was scheduled to take place within the following weeks!
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.
I worked for three days making photographs of the innumerable spaces and galleries at The Metropolitan Museum of Art in New York City, using my imagination to “picture” what it would look like with ballerinas in the various spaces.
In my studio, working with two dancers from The American Ballet Theater, Camila Ferrera and Betsy McBride, as well as a fashion stylist, Nikko Kefalas, hair stylist, Anike Rabiu, and make-up artist, Magdalena Major, I made images that would “fit” in the Museum’s spaces.
Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist. Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.
As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.
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.
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
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: Product Photography for a Holiday Campaign in collaboration with a celebrity Licensing: Publicity and Collateral use of 4 still photos and 1 animated GIF for 1 year Photographer: Still Life/Product and Food/Drink specialist Client: Sparkling beverage brand
Summary
I recently worked with a photographer to develop an estimate for a holiday-themed product photoshoot for a well-known beverage brand’s collaboration with a high-profile celebrity. The project involved creating still life images of a holiday table centerpiece featuring the client’s product alongside the celebrity’s co-branded food item. We considered the various creative needs, including product shots and lifestyle setups where hands would interact with the product.
The deliverables included up to four high-resolution still photos and one animated GIF intended for digital PR, social media, and the client’s website, with a one-year global license. The shots were primarily designed for web use, however, there was also the possibility of some print use.
Fees
The client provided a shot list outlining key visuals and requested Publicity and Collateral licensing for one year of global use. The creative and licensing fee was set at $5,500 for producing the still images and animated GIF, which we felt was in line with the single shoot day and somewhat limited use. Additionally, we added a pre-production day to help with coordination, studio setup, and creative planning, at a cost of $750.
Crew
Though the project’s production requirements were relatively simple, we decided to include the photographer’s preferred assistant to ensure everything ran smoothly. This covered the assistant’s day rates for both the prep/set build day and the shoot day, with a rate of $500 per day, bringing the total to $1,000 for two days.
Styling
The creative brief emphasized the importance of some festive styling for the tablescape, which would serve as the backdrop for the products. The photographer took on the basic prop styling, and we included $250 for 5 hours of prop sourcing and $800 to purchase props and décor items. We also brought in a food stylist for two days to ensure the products looked their best on camera. The food stylist was responsible for sourcing supplemental ingredients and food items to complement the products, so we budgeted $2,000 for two days of prep and styling work.
Casting and Talent
The brief called for a hand model to interact with the products in several shots, so we budgeted $360 for the hand model’s session, which included a $300 half-day rate and a 20% agency fee. The model’s usage fee for one year of global publicity and collateral use was budgeted at $1,200.
Locations
The photographer had a local studio they worked with regularly, so we included one rental day for the set build and one for the shoot. The studio rental was budgeted at $500 per day, bringing the total to $1,000 for both days.
Equipment
While the photographer was able to provide most of the necessary gear, we included a supplemental budget of $750 for any extra equipment rentals and their kit of cameras, lenses, lighting, grip, and a workstation.
Meals
We allocated $300 to provide light meals for the crew on the shoot day, ensuring everyone had breakfast and lunch.
Miscellaneous
We included a $250 budget for miscellaneous expenses to cover any potential additional costs, such as parking and mileage.
Post-production
For post-production, we allocated $600 for retouching four images, with each image receiving up to one hour of work at $150 per image. Additionally, we allocated $500 for editing a 15-30-second animated GIF to complement the still images.
Results
The photographer was awarded the project, and the shoot is slated to commence before the holidays!
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.
“Dragon” Glen de Souza founded the Dragon Keylemanjahro
School of Art & Culture in Cocorite, a suburb of Port of Spain, the capital of Trinidad and Tobago in 1986. The main purpose of the school is to keep children off the streets and away from drugs. Searching for artistic activities to engage them in, he rediscovered the art of stilt-walking, a tradition known in West Africa as the Moko Jumbies, protectors of the villages and participants in religious ceremonies. The art was brought to Trinidad by the slave trade but was forgotten soon after. Dragon Glen De Souza can be credited with bringing this tradition back to Trinidad and Tobago in a large-scale fashion. Today his school has over 100 members from age 4 and up. The stilts are made by Dragon and his students and can be as high as 12-15 feet. The children show their artistic talents mostly at the annual Carnival (celebrated in Trinidad and Tobago on February 12 and 13), which today is unthinkable without the presence of the Moko Jumbies. A “band” can have up to 80 children on stilts and they have won many of the prestigious prizes and trophies that are awarded by the National Carnival Commission. Designers like Peter Minshall, Brian Mac Farlane and Laura Anderson Barbata create dazzling costumes for the school which are admired by thousands of spectators. Besides stilt-walking the children learn the limbo dance, drumming, fire blowing (often all done on stilts) and how to ride unicycles. Between 1997 and 2004 New York City based photographer Stefan Falke took countless trips to Trinidad and Tobago to work on this essay which resulted in the book “MOKO JUMBIES:
The Dancing Spirits of Trinidad”, published by Pointed Leaf Press.
The images were in the official selection of the photo-journalism festival Visa Pour L’image in Perpignan, France, in 2004. This is the first time they’re exhibited in New York.
Between 1997 and 2004 New York City based photographer
Stefan Falke took countless trips to Trinidad and Tobago to work on this essay which resulted in the book “MOKO JUMBIES: The Dancing Spirits of Trinidad”, published by Pointed Leaf Press. The images were in the official selection of the photo-journalism festival Visa Pour L’image in Perpignan, France, in 2004 and at Deutsches Haus at NYU in New York in 2018.
Stefan Falke is a German born photographer who lives in New York City and works for international magazines, film studios and corporate clients. He has published four books: “MOKOJUMBIES: The Dancing Spirits of Trinidad“, about a stilt walking school in Trinidad, and “LA FRONTERA: Artists alongthe US-Mexican Border“, for which he photographed 200 artists on both sides of the entire 2000 miles long US-Mexico border to document the vibrant cultural activities in that region. His last two books, “Keep Going New York !!” and “ReflectingNew York” where self-published on Blurb.com.
APE contributor Suzanne Seasecurrently 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
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: Portfolio content photography of an architecture and interior design firm’s recently completed restaurant & retail spaces within an airport Licensing: Collateral and Publicity use of up to 15 images in perpetuity Photographer: Architecture & Interiors specialist Client: Large retail space architecture and interior design firm
Summary
I recently helped one of our NYC photographers build an estimate for a good-sized architecture and interior design firm. The firm requested an estimate for photography to document 4 of their soon-to-be-finished spaces within a NYC area airport terminal. The final use of the photography would primarily be web collateral within the firm’s website, publicity efforts, as well as submissions to a few notable design award competitions. When we first began speaking with the client, they let us know that the completion date was about 3 weeks out. Moreover, they informed us that the photographs needed to be taken at night because the restaurants and shops would be open the following day.
The client was very specific with their shot list needs. They would, however, rely on the photographer to accomplish this list in an artistic manner. They also let us know that they would need the final images within 2 days of the shoot date in order to meet their award submission dates. The client would arrange all special permissions for the photographer, crew, and equipment access to the spaces due to our need to work after the airport terminal had closed. We also knew that although our client designed these 4 spaces, they would all be owned and operated by other brands. With this in mind, we attempted to upsell and inquired whether the brands or proprietors might be interested in use of the final work. These potential clients, however, were not interested.
Here is the estimate:
I added a “Client Provisions” note to describe what the client was to provide. For this project, the client would provide locations, all location access and coordination, all location styling and cleaning, all employee/staff coordination, crew meals and craft services.
Fees
I put the Photographer’s fees at $6,500 for the shoot, and licensing of up to 15 images. We understand that the NYC market is very competitive and 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. We felt that $6,500 was a fair and competitive fee based on the metropolitan area, client, and the use of up to 15 images. The client offered a budget of “between $10,000-13,000” for the project. Based on the rush retouching fees needed we felt comfortable coming in roughly $1,100 above that.
Crew
We added a First Assistant/Digital Tech at $650/day to help with lighting and camera equipment management, and computer/file management while the photographer was shooting. These fees were consistent with the crew rates on the photographer’s past projects of this nature.
Equipment
We included $750 for camera, lighting, and grip rentals. The photographer brought their own cameras, lenses, and simple lighting. We added $450 for the digital tech workstation rental laptop, cables, etc.
Misc.
We included $240 for insurance coverage. We then added $250 for the anticipated taxis/car services to get to and from the airport, additional meals, and other miscellaneous expenses.
Post-Production
We added $500 for the photographer to perform an initial edit of all the content and delivery to the client. We also included rush retouching rates of $225/hr for an estimated 2 hours per image.
Results
The photographer was awarded the project and the shoot was a success. During the shoot, there were quite a few issues as several of the locations were not totally finished. In order to accomplish some of the wider images, the photographer needed to have their camera placed in a location not closed to the public. Due to this factor, a good amount of additional retouching was needed on the images, which was approved by the client.
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.
Working with Jan Barboglio in Mexico was an incredible experience that allowed me to capture the soul of her artistry through my photography, both still and motion. I focused on the rich textures, aged patinas, and intricate details that make her handcrafted ironwork so unique. The warmth of Mexico’s landscapes and historic architecture provided the perfect backdrop, enhancing the timeless beauty of her designs. I aimed to tell a story—one of tradition, craftsmanship, and the deep cultural heritage that inspires her work.
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
