3. Before we get started:
Thumb drives.
Handouts.
Ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
4. Before we get started:
Thumb drives.
Handouts.
Ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
5. Before we get started:
Thumb drives.
Handouts.
Please ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
6. Before we get started:
Thumb drives.
Handouts.
Please ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
7. Before we get started:
Thumb drives.
Handouts.
Please ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
8. Before we get started:
Thumb drives.
Handouts.
Please ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
9. Before we get started:
Thumb drives.
Handouts.
Please ask questions.
Provide feedback.
Don’t be overwhelmed.
I’m not going to tell you what to charge.
Who are you?
20. Here’s
Copyright
Why Do I Need A Contract?
what
Terminology
we’ll
Editorial Contracts
cover
Commercial Estimates
Computing Fees
Computing Expenses
Questions
Responding to “Any Way We Want”
Negotiating Tips
Case Studies
22. COPYRIGHT
▹ The right to reproduce or distribute an artistic work
▹ You own the copyright as soon as you take a picture
23. COPYRIGHT
▹ The right to reproduce or distribute an artistic work
▹ You own the copyright as soon as you take a picture
▹ Commercial photographers don’t sell images, they license them
24. COPYRIGHT
▹ The right to reproduce or distribute an artistic work
▹ You own the copyright as soon as you take a picture
▹ Commercial photographers don’t sell images, they license them
▹ Client can only use your picture with a license
25. COPYRIGHT
▹ The right to reproduce or distribute an artistic work
▹ You own the copyright as soon as you take a picture
▹ Commercial photographers don’t sell images, they license them
▹ Client can only use your picture with a license
▹ This gives you tremendous negotiating leverage
26. COPYRIGHT
▹ The right to reproduce or distribute an artistic work
▹ You own the copyright as soon as you take a picture
▹ Commercial photographers don’t sell images, they license them
▹ Client can only use your picture with a license
▹ This gives you tremendous negotiating leverage
▹ Copyright Registration
27. WHY DO I NEED A CONTRACT?
▹ Too many variables
28. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
29. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
30. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
▹ Without a contract, client has no rights, but they will assume they have all rights
31. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
▹ Without a contract, client has no rights, but they will assume they have all rights
▹ Get it in writing, before the shoot
32. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
▹ Without a contract, client has no rights, but they will assume they have all rights
▹ Get it in writing, before the shoot
▹ Avoids conflicts
33. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
▹ Without a contract, client has no rights, but they will assume they have all rights
▹ Get it in writing, before the shoot
▹ Avoids conflicts
▹ Makes your terms enforceable
34. WHY DO I NEED A CONTRACT?
▹ Too many variables
▹ Everyone remembers conversations differently
▹ You can’t assume your client operates the way you do
▹ Without a contract, client has no rights, but they will assume they have all rights
▹ Get it in writing, before the shoot
▹ Avoids conflicts
▹ Makes your terms enforceable
▹ You can do it!
39. TERMS: COST OF DOING BUSINESS
▹ Fixed (overhead) expenses, variable (assignment) expenses
40. TERMS: COST OF DOING BUSINESS
▹ Fixed (overhead) expenses, variable (assignment) expenses
▹ Your cost of doing business should reflect your prices, not drive them
41. TERMS: COST OF DOING BUSINESS
▹ Fixed (overhead) expenses, variable (assignment) expenses
▹ Your cost of doing business should reflect your prices, not drive them
▹ Your overhead (whatever it is), is simply going to make you more
competitive in some situations and less competitive in others
43. CHARGING FOR USAGE
▹ Assignment fees are a function of time, usage and expertise
44. CHARGING FOR USAGE
▹ Assignment fees are a function of time, usage and expertise
▹ TIME determines the minimum price (value to you)
45. CHARGING FOR USAGE
▹ Assignment fees are a function of time, usage and expertise
▹ TIME determines the minimum price (value to you)
▹ USAGE determines the maximum price (value to the client)
46. CHARGING FOR USAGE
▹ Assignment fees are a function of time, usage and expertise
▹ TIME determines the minimum price (value to you)
▹ USAGE determines the maximum price (value to the client)
▹ EXPERTISE gives you competitive advantage and negotiating leverage
47. CHARGING FOR USAGE
▹ Assignment fees are a function of time, usage and expertise
▹ TIME determines the minimum price (value to you)
▹ USAGE determines the maximum price (value to the client)
▹ EXPERTISE gives you competitive advantage and negotiating leverage
▹ If you’re not charging for all three, you’re probably leaving money on the
table
49. TERMS: TYPES OF USE
▹ EDITORIAL
▹ COMMERCIAL
▹ Publicity
▹ Collateral
▹ Advertising
50. TERMS: TYPES OF USE
▹ EDITORIAL
▹ COMMERCIAL
▹ Publicity – client gives photos to publications for editorial use
▹ Collateral
▹ Advertising
51. TERMS: TYPES OF USE
▹ EDITORIAL
▹ COMMERCIAL
▹ Publicity – client gives photos to publications for editorial use
▹ Collateral – client produces and distributes a publication
▹ Advertising
52. TERMS: TYPES OF USE
▹ EDITORIAL
▹ COMMERCIAL
▹ Publicity – client gives photos to publications for editorial use
▹ Collateral – client produces and distributes a publication
▹ Advertising – client pays to place photos in media
59. EDITORIAL CONTRACTS
▹ Yours or theirs?
▹ Day rate vs. space
▹ Flat fee plus expenses
60. EDITORIAL CONTRACTS
▹ Yours or theirs?
▹ Day rate vs. space
▹ Flat fee plus expenses
▹ Flat fee including expenses
61. EDITORIAL CONTRACTS
▹ Yours or theirs?
▹ Day rate vs. space
▹ Flat fee plus expenses
▹ Flat fee including expenses
▹ Normally for a period of time (avoid forever)
62. EDITORIAL CONTRACTS
▹ Yours or theirs?
▹ Day rate vs. space
▹ Flat fee plus expenses
▹ Flat fee including expenses
▹ Normally for a period of time (avoid forever)
▹ Sometimes just for one assignment at a time
64. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
65. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
66. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
67. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
68. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
▹ “Plus applicable sales tax”
69. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
▹ “Plus applicable sales tax”
▹ Use estimating software like BlinkBid or an invoicing application like Quickbooks
70. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
▹ “Plus applicable sales tax”
▹ Use estimating software like BlinkBid or an invoicing application like Quickbooks
▹ Send proposal as combined PDF with introductory email
71. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
▹ “Plus applicable sales tax”
▹ Use estimating software like BlinkBid or an invoicing application like Quickbooks
▹ Send proposal as combined PDF with introductory email
▹ Send treatment for big jobs, explaining your approach and capabilities
72. COMMERCIAL ESTIMATES
▹ Proposal: estimate, terms & conditions, delivery memo
▹ Price by the hour, by the day, by the image, by the project
▹ Bundle usage with day rate or separate the two
▹ Itemize everything (at least to yourself)
▹ Specify items that the client is providing
▹ “Plus applicable sales tax”
▹ Use estimating software like BlinkBid or an invoicing application like Quickbooks
▹ Send proposal as combined PDF with introductory email
▹ Send treatment for big jobs, explaining your approach and capabilities
▹ Review with a consultant, rep or friend
74. TREATMENT
▹ More detailed proposal for bigger commercial assignments
▹ Explains your skills, experience and client list
75. TREATMENT
▹ More detailed proposal for bigger commercial assignments
▹ Explains your skills, experience and client list
▹ Describes your technical and creative approach
76. TREATMENT
▹ More detailed proposal for bigger commercial assignments
▹ Explains your skills, experience and client list
▹ Describes your technical and creative approach
▹ Provides sample images and style references
77. TREATMENT
▹ More detailed proposal for bigger commercial assignments
▹ Explains your skills, experience and client list
▹ Describes your technical and creative approach
▹ Provides sample images and style references
▹ Summarizes production schedule
90. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Expertise
91. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Expertise
92. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Expertise
93. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Expertise
94. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Expertise
95. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Exclusivity - how long before photographer can license the pictures to another client
▹ Expertise
96. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Exclusivity - how long before photographer can license the pictures to another client
▹ Credit
▹ Expertise
97. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Exclusivity - how long before photographer can license the pictures to another client
▹ Credit
▹ Expertise
▹ Technical, creative
98. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Exclusivity - how long before photographer can license the pictures to another client
▹ Credit
▹ Expertise
▹ Technical, creative
▹ Connections, experience
99. COMPUTING FEES
▹ Time
▹ Pre-production, shoot, post-production
▹ Usage
▹ Types of use - editorial, commercial (publicity, collateral, advertising)
▹ Prominence - number of pictures, size of pictures, placement, size of client
▹ Duration - how long they will be used (one time, one year, forever)
▹ Geography – where they will be distributed (local, regional, national, international)
▹ Volume - number of copies of publication, ad insertions
▹ Exclusivity - how long before photographer can license the pictures to another client
▹ Credit
▹ Expertise
▹ Technical, creative
▹ Connections, experience
▹ Uniqueness – how many other photographers could do this assignment?
100. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
101. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
102. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
103. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
104. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
▹ Advertising: $10,000/image plus expenses (1 year national advertising)
105. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
▹ Advertising: $10,000/image plus expenses (1 year national advertising)
▹ A rough starting point – extrapolate from from there
106. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
▹ Advertising: $10,000/image plus expenses (1 year national advertising)
▹ A rough starting point – extrapolate from from there
▹ Hero image, supporting image (advertising)
107. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
▹ Advertising: $10,000/image plus expenses (1 year national advertising)
▹ A rough starting point – extrapolate from from there
▹ Hero image, supporting image (advertising)
▹ Many factors will add upward or downward pressure on value
108. COMPUTING FEES: RULES OF THUMB
▹ Editorial: $500/day vs. $500/page plus expenses (one-time print use, concurrent web use)
▹ Internal Corporate and event photography: $150-200/hour plus expenses
(publicity and internal collateral use forever)
▹ External Corporate: $2500-3500/day plus expenses (for one year’s use)
▹ Catalog: $2500-3500/day plus expenses (use limited to that catalog)
▹ Advertising: $10,000/image plus expenses (1 year national advertising)
▹ A rough starting point – extrapolate from from there
▹ Hero image, supporting image (advertising)
▹ Many factors will add upward or downward pressure on value
▹ Every situation is unique (photographer, client, shoot) prices can vary wildly
113. COMPUTING FEES: SCALING
Ad shoot National International
6 months $7000
1 year $10,000
2 years $15,000
114. COMPUTING FEES: SCALING
Ad shoot National International
6 months $7000 $14,000
1 year $10,000 $20,000
2 years $15,000 $30,000
115. COMPUTING FEES: SCALING
Ad shoot Regional National International
6 months $3500 $7000 $14,000
1 year $5000 $10,000 $20,000
2 years $7500 $15,000 $30,000
116. COMPUTING FEES: SCALING
Ad shoot Regional National International
6 months $3500 $7000 $14,000
1 year $5000 $10,000 $20,000
2 years $7500 $15,000 $30,000
Can also scale type of use, number of pictures, etc.
120. COMPUTING FEES:
ASSIGNMENT VS. STOCK PRICING
▹ Stock pricing doesn’t always match assignment pricing
▹ Uniqueness, volume
121. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
122. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
▹ Commercial: still sorting out
123. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
▹ Commercial: still sorting out
▹ Case in point: Advertising in Time Magazine
124. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
▹ Commercial: still sorting out
▹ Case in point: Advertising in Time Magazine
▹ Print Version: full-page ad costs $170k (4m copies, 17m readers)
125. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
▹ Commercial: still sorting out
▹ Case in point: Advertising in Time Magazine
▹ Print Version: full-page ad costs $170k (4m copies, 17m readers)
▹ Website: $170k gets you 11m website impressions
126. COMPUTING FEES: PRINT VS. DIGITAL
▹ Editorial: web and tablet typically included in base fee
▹ Commercial: still sorting out
▹ Case in point: Advertising in Time Magazine
▹ Print Version: full-page ad costs $170k (4m copies, 17m readers)
▹ Website: $170k gets you 11m website impressions
▹ Tablet: ads are no additional charge (audience only 25,000)
147. QUESTIONS: GENERAL
▹ CREATIVE - What pictures do we need to make?
▹ PRODUCTION
▹ USAGE
148. QUESTIONS: GENERAL
▹ CREATIVE - What pictures do we need to make?
▹ PRODUCTION - What do we have to do to make them?
▹ USAGE
149. QUESTIONS: GENERAL
▹ CREATIVE - What pictures do we need to make?
▹ PRODUCTION - What do we have to do to make them?
▹ USAGE - How will the pictures be used?
150. QUESTIONS: GENERAL
▹ CREATIVE - What pictures do we need to make?
▹ PRODUCTION - What do we have to do to make them?
▹ USAGE - How will the pictures be used?
▹ Some questions you’ll ask the client, others you’ll ask yourself.
153. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
154. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
155. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
▹ Who is the client?
156. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
▹ Who is the client?
▹ What type of use (publicity, collateral, advertising)?
157. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
▹ Who is the client?
▹ What type of use (publicity, collateral, advertising)?
▹ How many photos do you expect to use and at what size?
158. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
▹ Who is the client?
▹ What type of use (publicity, collateral, advertising)?
▹ How many photos do you expect to use and at what size?
▹ Cover, inside (corporate, editorial)?
159. QUESTIONS: SPECIFIC
▹ What’s the shoot concept?
▹ What are we trying to say?
▹ Who is the audience?
▹ Do you have a shot list, comps?
▹ Who is the client?
▹ What type of use (publicity, collateral, advertising)?
▹ How many photos do you expect to use and at what size?
▹ Cover, inside (corporate, editorial)?
▹ Media buy - newspapers, magazines, billboards, POP, web, tablet (advertising)?
161. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
162. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
163. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
164. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
▹ How long will you want the photos to be exclusive?
165. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
▹ How long will you want the photos to be exclusive?
▹ What level of production is appropriate (hair/make-up, wardrobe, props)?
166. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
▹ How long will you want the photos to be exclusive?
▹ What level of production is appropriate (hair/make-up, wardrobe, props)?
▹ Can you tell me who else is quoting on the job?
167. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
▹ How long will you want the photos to be exclusive?
▹ What level of production is appropriate (hair/make-up, wardrobe, props)?
▹ Can you tell me who else is quoting on the job?
▹ Have you established a budget?
168. QUESTIONS: SPECIFIC
▹ How long (one time, one year, forever)?
▹ Geographic area (local, regional, national, international)?
▹ What's the circulation (or print run) of the publication (editorial, corporate)?
▹ How many insertions and in what publications (advertising)?
▹ How long will you want the photos to be exclusive?
▹ What level of production is appropriate (hair/make-up, wardrobe, props)?
▹ Can you tell me who else is quoting on the job?
▹ Have you established a budget?
▹ How many shoot days does the job require?
170. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
171. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
172. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
173. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
174. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
▹ What’s in it for you? (portfolio, experience, relationship, money)
175. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
▹ What’s in it for you? (portfolio, experience, relationship, money)
▹ Will this job yield valuable stock photos?
176. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
▹ What’s in it for you? (portfolio, experience, relationship, money)
▹ Will this job yield valuable stock photos?
▹ Can you do it on your schedule or do you have to do it on theirs?
177. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
▹ What’s in it for you? (portfolio, experience, relationship, money)
▹ Will this job yield valuable stock photos?
▹ Can you do it on your schedule or do you have to do it on theirs?
▹ How busy are you?
178. QUESTIONS: FOR YOU
▹ Your contract or theirs?
▹ Is the intended use different from the licensing they're asking for?
▹ Are there special technical or creative skills required for the job?
▹ How complex or difficult is the job?
▹ How many of your competitors could do the job?
▹ What’s in it for you? (portfolio, experience, relationship, money)
▹ Will this job yield valuable stock photos?
▹ Can you do it on your schedule or do you have to do it on theirs?
▹ How busy are you?
▹ Do I need a signature or will an email confirmation suffice?
180. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
181. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
182. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
▹ Sometimes a client wants to hide how they plan to use the pictures
183. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
▹ Sometimes a client wants to hide how they plan to use the pictures
▹ Other times, they just don’t know
184. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
▹ Sometimes a client wants to hide how they plan to use the pictures
▹ Other times, they just don’t know
▹ Mostly, they’re looking for convenience
185. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
▹ Sometimes a client wants to hide how they plan to use the pictures
▹ Other times, they just don’t know
▹ Mostly, they’re looking for convenience
▹ Send two pricing options
186. RESPONDING TO “ANY WAY WE WANT”
▹ Broader usage is more expensive, narrower usage is less expensive
▹ Provide a licensing agreement that fits their budget
▹ Sometimes a client wants to hide how they plan to use the pictures
▹ Other times, they just don’t know
▹ Mostly, they’re looking for convenience
▹ Send two pricing options
▹ Don’t let a client tell you you can’t charge for usage (don’t be intimidated)
187. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
188. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
▹ Work for hire/transfer of copyright/buyout
189. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
▹ Work for hire/transfer of copyright/buyout
▹ Any type of use, any medium, worldwide, forever, exclusive forever
190. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
▹ Work for hire/transfer of copyright/buyout
▹ Any type of use, any medium, worldwide, forever, exclusive forever
▹ Publicity, collateral and advertising use, any medium, worldwide, forever, limited
exclusivity
191. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
▹ Work for hire/transfer of copyright/buyout
▹ Any type of use, any medium, worldwide, forever, exclusive forever
▹ Publicity, collateral and advertising use, any medium, worldwide, forever, limited
exclusivity
▹ Maybe they need to use it everywhere but for a limited period of time
192. RESPONDING TO “ANY WAY WE WANT”
▹ What does your client really need? Structure “unlimited” in a limited way
▹ Work for hire/transfer of copyright/buyout
▹ Any type of use, any medium, worldwide, forever, exclusive forever
▹ Publicity, collateral and advertising use, any medium, worldwide, forever, limited
exclusivity
▹ Maybe they need to use it everywhere but for a limited period of time
▹ Maybe they need to use it forever, but just in one region
195. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
196. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
197. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
▹ Don’t give up something for nothing (licensing/fee/expenses)
198. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
▹ Don’t give up something for nothing (licensing/fee/expenses)
▹ Never give a price quote over the phone
199. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
▹ Don’t give up something for nothing (licensing/fee/expenses)
▹ Never give a price quote over the phone
▹ Working for free or for cheap
200. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
▹ Don’t give up something for nothing (licensing/fee/expenses)
▹ Never give a price quote over the phone
▹ Working for free or for cheap
▹ Does the intended use match the licensing?
201. NEGOTIATING TIPS
▹ Put it in your own words
▹ Negotiating is about finding a “win/win”
▹ It doesn’t need to be contentious or adversarial
▹ Don’t give up something for nothing (licensing/fee/expenses)
▹ Never give a price quote over the phone
▹ Working for free or for cheap
▹ Does the intended use match the licensing?
▹ Production responsibilities (what can your client do to help?)
203. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
204. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
205. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
206. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
▹ Web isn’t a usage, it’s a medium
207. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
▹ Web isn’t a usage, it’s a medium
▹ Low bid doesn’t always get the job
208. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
▹ Web isn’t a usage, it’s a medium
▹ Low bid doesn’t always get the job
▹ Share pricing information with other photographers
209. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
▹ Web isn’t a usage, it’s a medium
▹ Low bid doesn’t always get the job
▹ Share pricing information with other photographers
▹ Ignorance drives down prices
210. NEGOTIATING TIPS
▹ Bid vs. Estimate (heads I win, tails you lose)
▹ Draw a box around the usage you want to allow for a certain price
▹ Avoid vague terms like “buyout” and “unlimited”
▹ Be clear when you use the terms “digital” or “print”
▹ Web isn’t a usage, it’s a medium
▹ Low bid doesn’t always get the job
▹ Share pricing information with other photographers
▹ Ignorance drives down prices
▹ If you’re not willing to turn down a bad deal, you have no negotiating leverage
227. - Brothers who run online wine company
- One inside picture. Full page.
- White background.
- Sitting on wine crates.
- With and without wine glasses
259. - Large New York ad agency
- Medium-sized brand (part of big company)
- 3 ads (3 different models, each with prop)
- 1 day in studio
- 1 year consumer pubs, POS, direct mail,
collateral, internet
284. - “Mug shot” concept with kids
- To illustrate story on identity theft
- Individual mug shot, line-up, seamless
- (USAA offers financial services for veterans and their families)
- What would you charge?
