Photographer: Nigel Parry
by Jess Dudley Wonderful Machine
Shoot Concept: Lifestyle, chef portraits and plated food images to promote a resort
Licensing: Three years of regional Advertising, Collateral and Publicity use of 20 images, in Georgia, North Carolina, South Carolina and Tennessee only
Location: Resort in Georgia
Shoot Days: Two
Photographer: Southeastern hospitality and lifestyle specialist
Agency: Client Direct
Client: Independent Resort Property
Here’s the estimate:
I thought it would be interesting to share this particular hotel lifestyle estimate on the heels of our previous Pricing & Negotiating post so I could highlight the difference in value between two nearly identical projects. Both were two-day lifestyle hospitality shoots at a single hotel property. The major differences are the size and reach of the clients and the breadth of the licensing. In the previous post, we were working through an ad agency for an international hotel chain to shoot 17 images for national use, with much higher expectations and production requirements. In this case, we were dealing directly with a single high-end hotel client interested in licensing 20 images for regional use.
Concept: The client wanted to highlight the property through a variety of available-light lifestyle images featuring talent enjoying the grounds, restaurants, services and amenities. The client compiled a shot list of 10 scenarios from which they hoped to license 20 images (2 per scenario). The scenarios would feature resort staff and anywhere from 1-4 non-professional talent (friends/family of the marketing team) and range from plated dining room scenes, to guests checking in, to talent strolling around the property’s more photogenic landscape and architectural elements. From our perspective, the production would be pretty minimal. The photographer would simply need to book his assistants, pick up gear, show up and start shooting. The client would source the talent, handle wardrobe, props, food, catering, all styling, and of course, the location. This told us a lot about the client’s production expectations and hinted at budget.
Licensing: The 3 year licensing duration, 10 scenarios and the fact that we were working with a high-end client all applied upward pressure on the value. Exerting downward pressure was the the lack of an ad agency (which could indicate smaller ad buy/less extensive use), the fact that the client was single, somewhat remote property and finally the geographical limitation of the licensing. As it turns out, the client planned to primarily advertise on the web, only running 2-3 print ad insertions/year in a few local magazines, solidifying our assumption of a smaller ad buy. Weighing all of these factors, I priced this out at 1500.00 for the first two scenarios, 750.00/scenario for 3-6 and 500.00/scenario for 7-10, bringing the fee to a total of 8000.00. I checked my rates against a couple pricing sources. Corbis doesn’t display regional or state by state rates. BlinkBid’s bid consultant recommended 621.25-887.50 per image per year for a regional Local Small Business to purchase comparable licensing, which was in the ballpark. Photoshelter’s stock pricing interface suggests a rate of 15,000/image for one year or 22,000.00/image for three years for regional collateral and advertising use, but its pricing criteria didn’t allow me to hone the use as much as I needed to in this case.
As a side note, we use a few general rules of thumb when it comes to increasing or decreasing fees based on volume or duration. In general, doubling the duration does not necessarily double the value to the client—campaigns/images get tired, people/property/styles/trends change. Also, doubling the number of images licensed does not necessarily double the value to the client. Accordingly, I’ll add 50% to increase duration from one to two years and 100% to increase duration from one year to three years. With respect to increasing the number of images, the second is typically valued at 50% of the first, unless the image represents an additional unique concept, in which case we would value the image/licensing closer to 100% of the first image. At a certain point, I may introduce additional price breaks if we get into larger quantities.
Photographer Production Day: The resort property was about 2 hours from the photographer’s home so I included one full “photographer production day” to cover the half day of round trip travel and half day of walk-through at the resort the day before the shoot.
First Assistant/Digital Tech, Local Assistant: I estimated for three full days for first assistant/digital tech, which covered two full shoot days, four hours of round trip travel time and four hours of walk-through time. 500.00/day is a normal rate for a tech but wouldn’t typically include necessary equipment, and certainly not a full-blown workstation cart which normally rents for 750-1000.00 depending on the setup. In this case, the photographer would shoot with a DSLR tethered to his own laptop running Capture One. We opted in this case not to charge for the laptop rental. As for the local assistant, we included one for both shoot days.
Equipment Rental: The photographer planned to rent two DSLR bodies (300.00/day), 2 fast lenses (65.00/day), two strobe kits for supplemental light if needed (300.00/day), and a variety of silks, scrims, frames and stands (~235.00/day). All of the gear would have to be rented for three days since the photographer and tech would have to pick it up before the walk-through.
Lodging Nights: The resort was fully booked during the shoot window so the client could not offer to provide lodging. We estimated for rooms for the photographer and digital tech for 2 nights at a nearby commuter hotel.
Images processed for editing & Selects Processed for Reproduction: This covered the time, equipment and costs to handle the initial import, edit and upload for client review and basic processing (color correction and blemish removal) for the 20 selects. Anything over and above the basic processing would be considered retouching and be billed at 150.00/hr, which is covered in the terms and conditions.
Miles, FTP, COI, Parking, Meals, Tolls, FTP, Misc: I estimated 200.00 for mileage, 50.00 per person per day for meal costs to cover breakfasts and dinners, 50.00 for the COI, 100.00 for the FTP and 150.00 for parking, tolls and miscellaneous expenses.
Results: The photographer shot the job and has already begun discussing the next project with the client.
Marketing note: This project came about because the photographer had managed to set up a meeting with a marketing manager at the resort. Within a few weeks the photographer received a request for an estimate. It just goes to show marketing is all about putting yourself out there and occasionally being in the right place at the right time.
If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.
Instagram has shed nearly half its daily active users — the highest frequency group — since the fiasco over its terms of use, according to AppStats. Its figures show that Instagram’s active daily users dropped to 8.42 million this week, from 16.35 million on Dec. 17, the day the controversial news broke.
via NYPOST.com.
Photographer: Brett Beyer
time lapse video here
blog here
“Advertising has evolved into a business driven by megalomaniacs who know a lot about making money but little or nothing about making advertising. In some respects it’s also being driven by “creatives,” who have it wrong to the opposite extreme. They believe the ad or commercial is everything and that winning awards is something. They’ve lost sight of the fact that advertising, in and of itself, isn’t anything. Advertising’s sole purpose is to be the cause of something else. To cause a sales increase. To cause a shift in perception. To cause the creation of an edifice of imagery that allows a product or service to be something. But advertising itself is nothing. Nothing but a means to an end. Only fools believe the means is as important or significant as the end.”
I attended National Geographic’s annual Photo Seminar last week. What started in 1967 as a way for photographers to informally gather and talk about their work (one attendee described it as an after the holidays palate cleanser), has become an annual rite for the exclusive group of photographers in the “Nat Geo” club and various hangers-on. From what I could gather the more recent seminars have taken the shape of canonizing the old guard, highlighting young new talent and pushing the boundaries of what might be acceptable for photography among the members and staff. A perfect mix in my opinion.
For me it was an awesome treat to watch photographers talk about their work. I look at work on my computer, in books and magazines and even sometimes on the wall, but it’s rare that I get to hear a photographer talking about their work. And wow, what a difference that makes. I need to do it more often as it renewed my spirit for the craft.
If there’s one word that describes what I witnessed at the event it would be emotion. From photographers who want to change the world, to those whose deep emotions manifest in the work to a deep love of subject, my nerves were raw after each speaker finished their outpouring of emotion. As I watched I discovered an excellent way to keep notes was to simply tweet out the great quotes I heard. Now, going back and remembering it all here are my highlights.
Master of ceremonies Vincent J. Musi in response to the unprecedented flood of photographers and imagery we’re experiencing quipped in his opening remarks “Have photographers become the endangered species?”. The answer came minutes later as he introduced street artist JR to the group. I say that because I believe what has changed is simply the definition of “professional photographer.” Go see JR’s Ted Prize talk from 2011 to understand what a special person he is. The mind bending part of his work is when he crowd sources and does not directly participate in the creation of it. This is an important concept for photographers who don’t want to become endangered to consider.
The next photographer continued that thought as Michael Ravine who works with NASA and others discussed putting cameras on space ships and sending them to orbit the moon and rove around mars taking pictures. Many of us have fallen in love with the photography NASA and JPL are doing today, but nothing raises the hackles on traditional photographers like not standing in the field with your camera to make the picture. But, making pictures remotely is another concept that needs to be explored further.
Other highlights for me were an on stage interview of David Alan Harvey by Vincent that had so many memorable moments including David’s first rejection letter from National Geographic where he was told “You are young and strong and this is good because what I’m about to tell you will make you old and sick.” His own emotional journey into each subject he covers: “When I read about method action, I do the same thing with my photography” and “I go native every time. There’s a little piece of me in every assignment.” Then Aaron Huey gave a showstopper with his Pine Ridge Reservation talk that I’ve highlighted here before (Ted version) where he said, “Pine Ridge broke something inside me, but also opened something in my heart.”
Finally, Sebastião Salgado whose passion and devotion to photography and planet surely cannot be matched delivered the perfect summation of what I just witnessed: “Photography is the most powerful language ever created in the modern world”
I believe and have preached this thought over and over throughout my career. Photography is still powerful, but photographers must evolve and incorporate new ways to make and deliver the emotional impact available to them.
Taste is fickle. We all think we have good taste, but of course that’s impossible. Some of us are chic, and others display ceramic frogs around their home.
I’m more attuned to the dichotomy than most. Taos, where I live, is famed as an art outpost at the edge of nowhere. We used to have Agnes Martin, Ken Price, and Dennis Hopper, but they’re all dead now. Bummer.
Instead, in the 80’s and 90’s, the Taos art scene began to cater directly to the hordes of moneyed Texan and Oklahoman tourists that drove into town with regularity. Big trucks, big checkbooks, questionable taste. The result was a glut of “art galleries” that each tried to outdo the others with uninspired, gaudy Southwestern art.
If you like bad paintings of cowboys, indians, flowers, teepees, mountains, horses and hollyhocks, this is your kind of place. If, like me, you try to make and look at intellectually challenging work, then you’re probably better served elsewhere. I hate to be harsh, but it is what it is.
Sometimes, though, bad taste can be accepted within the realm of high art. We’re all familiar with kitsch, but I suppose it’s difficult to define. You know it when you see it, like porn. Some things are so cheesy or tacky that you like them in spite of yourself. (Like Billy the Badmouth Bass crooning “Don’t Worry Be Happy” every time you touch the button.)
I’ve got all this in mind, as I just put down a copy of David LaChapelle’s big new monograph, “Thus Spoke LaChapelle,” published in conjunction with an exhibition in Prague. (Yes, I know I ought not pick on the Eastern Europeans again. But I saw more silly mustaches and tacky vinyl siding while living in Polish Greenpoint, Brooklyn than I care to remember.)
David LaChapelle is a super-famous photographer, and you’ve probably already got you mind made up about him. As my knowledge base skews towards the art world, rather and editorial, I knew him as some dude who makes crazy, opulent photos, and who also sued Rhianna. (My goodness she’s beautiful.)
But I didn’t have a microfiche catalogue of his work in my head. Not at all. So I was pleasantly surprised to see this book, filled to the brim with celebrities, hookers, models, fake boobs, fake butts, jutting penises, and tons of campy, gay-themed silliness. Let me be clear: this is a big book, so there is more bad taste than a gas-guzzling RV from Texas towing a Hummer off the back. (Yes, I see them all the time.)
I’d rather not get into too many details here, because there’s too much to discuss. The famous people are there, and boy did he make Courtney Love and Michael Jackson look bonkers. But David Bowie is hip, Uma Thurman is radiant, and he even got Daniel Day-Lewis to do something strange. (Just imagine that set, if it was in the actor’s Bill the Butcher phase. “Uh, Mr. Lewis, we’d like you to rub a pomegranate all over your face. And if you’re planning to stab anybody, please avoid the vital organs.”)
There are some terrible photos in this book, and some photos that are terrible in a good way. (In fairness, some of the celeb pictures are good without being bad at all.) It’s big enough that you’re likely to find some you love, and some that shock you with audacity. Surprisingly, near the end, we see the series of images, represented on the cover, of people photographed while submerged in water. They’re well made, powerful, interesting, and subtle. If you didn’t know who made them, you’d probably just assume they came from the mind of a talented, less crazy artist.
Bottom line: Crazy monograph, famous photographer, famous subjects
To purchase Thus Spoke LaChapelle visit Photo-Eye
Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.
Books are found in the bookstore and submissions are not accepted.
Friday: 1.11.13Photographer: Annie Leibovitz
Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.
Suzanne: Since my father was an architect, I have always had a love for architecture. I grew up in an older neighborhood in Baltimore with houses from 1880’s so I have loved incredible details in interiors. I think that is why I was so attached to this advertising campaign for ABC Carpet & Home. The colors, the details and the lighting are amazing and then it draws you in and see the carpets on the floor. I think this is an elegant campaign and I reached out to Carol Alda at Bernstein & Andriulli about the project and to reach out to Jason Madara the photographer on the campaign.
Suzanne: I look at your interior work a lot but I wonder if you were considered for this project because of the portraits in interiors that you did for GQ and the woman sitting in the chair with the pink curtains. What are your thoughts on what got the art directors eye?
Jason: I recently asked the art director at ABC, Angela Gruszka, that very question, and because I do shoot everything, I was curious as to what portion of my portfolio appealed to her for this project. She said she wanted a photographer with a good sense of light, depth and dimension to balance the wild kaleidoscopes of color she wanted to create in the ads. There wasn’t just one image in my book that spoke to her – she trusted me to create something beautiful and memorable out of essentially empty rooms. She wanted the final images to be painterly: rich in color and mood.
Suzanne: I read in your bio that you were raised in a visual arts family, does that help you when you are shooting an interior or a figure in an interior? Do you look at the entire scene and how it plays visually?
Jason: My upbringing has absolutely inspired me and the work that I do, and how I approach each job. My father has been in the music business for the past 50 years, and music has always been in my life and a huge inspiration for how I see the world. My mother comes from a broadcast production background and she taught me about the business side of commercial art. Because of this I started out having a good understanding of how to manage a production from A-Z. My stepfather comes from the fine art and commercial side of advertising. He taught me about contemporary photography, and opened up a world I never knew or learned in school. Because of these three people I learned how to be conceptual, how to be inspired and how to put it all together. It was truly the perfect storm!
So to answer your question, yes, when I approach an interior or a person in an interior, I look to what I learned through my years of living in other countries, studying contemporary art, traveling, and inspirations way beyond photography. For the ABC project, I wanted the light and color to play off each other, and to create an image that felt more like a painting.
Suzanne: Tell me about the rooms that you shot. Where are they and how much additional prep did you all have to do before the shoot?
Jason: When ABC contacted me about this job, they showed me scout images of an old house located in Hudson, NY. They also provided examples of the rugs they wanted to shoot there. We talked about the quality of light and looked at some of my work for the direction, mood and feel of how we would do it.
Apparently no one had lived there for years, but the last tenant had painted all the walls the colors that you see today. After years of decay it started to break apart. Amazingly, we didn’t do any prep aside from a tech scout the day we arrived. Angela Gruszka from ABC had a solid idea of which colors she wanted in each room and the rest was about the balance of natural light vs. artificial light, composition, and approach to showcase the rugs, but also showcase the environment – it was a delicate balance of everything. I didn’t want one particular image to be my favorite – I wanted to love all of them, but for different reasons.
We shot for two days and did four shots a day, starting with one key light. I just slowly added light by light until we got to a place we all loved. After the shoot, I flew back to San Francisco and started the post-production with my retoucher, Rebecca Bausher of Pixel Chick. We retouched the images individually over the next six months as they launched the ads, making sure that each image was exactly like the one before in quality, color, balance, and mood.
Suzanne: I love that you have multiple categories that most folks wouldn’t put on one website but they all work together well. It seems like the Europeans can do it so it nice to see you doing it here in the States. What advice can you give to photographers who want to work multiple categories but people say don’t do it.
Jason: I get this question a lot, and it seems to be a scary thing for most – the idea of showing different kinds of work in one portfolio. I never understood why so many in the industry advise photographers to only focus on one thing. There seems to be the perception in the domestic market that clients need the security of knowing their photographer is a specialized “portrait guy” or landscape shooter. I believe this is shifting. I think most photographers want to and do shoot many types of subject matter – they just aren’t marketing it all. It becomes their personal work. I think the key to making the multiple categories work is creating a consistent visual identity. There should be a continuity in the quality of light, color, and mood, no matter what you’re shooting. I’ve spent the last 15 years playing with and developing that cohesion. Portrait, landscape, interior, still life- I never really saw the difference. Every image is about light and composition, it doesn’t matter what it is. The goal for me is to keep the mood and color the same.
The advice I have for other photographers is simple: if you love something, then do it. Just don’t change who you are because the subject or environment changes – try to keep the same vision for whatever it is you photograph.
Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.
Raised in Los Angeles by a music, film, and a visual arts family, Jason Madara’s cinematic vision of the world was instilled long before he ever picked up a camera. Growing up as a silent observer on sets and in studios, the world in front of him was in a constant state of storytelling: high in raw emotion and drama. As a photographer, Madara continues to capture moments as performances – alive and visceral in their stillness.
Formally trained at the Brooks Institute in Santa Barbara and professionally practiced across the globe, Madara’s deft balance of lightness and darkness brings beauty and tension to glimpses both ordinary and extraordinary. Madara credits the depth of emotion in his work to his wife and daughter, who constantly inspire him to unveil the complex sweetness, fragility, and power of the human state and natural environment.
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 industry since the mid 80s, after founding the art buying department at The Martin Agency then working for Kaplan-Thaler, Capital One, Best Buy and numerous smaller agencies and companies. She has a new Twitter fed with helpful marketing information. Follow her@SuzanneSease.
Photographer: Eric Ray Davidson
Men are from Mars, and women are from Venus. So they say. But what if Mars is the better planet? If so, isn’t it sexist to give Mars to the men? Shouldn’t women be from Mars, and men from Venus? That would be more equitable.
Of course I’m joking. I’ve been thinking about this, though, since mid-November, when I realized that I hadn’t reviewed a book by a female artist in a long time. It wasn’t conscious neglect. I’m fairly indiscriminate when I grab the books at photo-eye, and then choose to review those to which I truly respond.
I was disturbed by my lack of awareness, but not surprised by my preferences. Early on in my relationship with my wife, we realized that all of my music was made by men, and all of hers by women. One man’s Bruce Springsteen is another woman’s Ani DiFranco. (Then, thankfully. Now it’s Lilly Allen and Regina Spektor. Much better.)
Still, I wasn’t going to let the trend continue. I had Cara Phillips’ “Singular Beauty” in my book stack, and reviewed it straightaway. I thought it was a fascinating book, and said as much. It belonged in the column. In retrospect, was this a case of affirmative action, or a belated remedy to a problem resulting from carelessness?
Shortly thereafter, it came time to give photo-eye my best books of 2012, and again I had to temper a male-centric list. I could have left it as it was, but that seemed inappropriate. Is it controversial of me to admit this? Probably, but the alternative is less attractive. I’d rather be open, and let you choose to respect my stance, or take exception.
This blog, and my effort in it, has always been about radical honesty. I’m not trying to offend anybody. I take this platform seriously, and think it’s vital to show a diversity of perspectives in the things I cover. Furthermore, I only want to discuss projects that are interesting and provide value for your precious time. If these articles promote dialogue, so much the better.
Men and women are both part of the human species, but our structural bodies and body chemistries are different. We couldn’t possibly have the same experience navigating the world. As an artist, it’s socially acceptable for me to have a lot of “female” characteristics. I’m emotionally sensitive, like to talk, and ask a lot of questions. I can empathize, and appreciate taking baths. But I also like football, farting and cursing. I’m still a dude, albeit one with a healthy dose of estrogen.
With all that in mind, I was thrilled to see three exhibitions by three super-talented female artists while I was in New Orleans. On a Sunday, just after my reviews ended, I was walking quickly towards the Ogden Museum when I got a text to stop in at the Contemporary Art Center. I was meant to meet my new friend Kathleen Robbins, so she could take me to see her show “Into the Flatland,” at the New Orleans Photo Alliance gallery. She asked me to change course, and there she was in the lobby, standing with a few women I didn’t know.
Kathleen told me she’d set up a little gallery tour, and would that be OK? I said no problem. Within a matter of minutes, my slow brain surmised that our companions were the artists featured in the shows were were to see. (And the three prize winners from photoNOLA 2011.) Sarah Cusimano Miles was exhibiting at the Martine Chaisson Gallery, two blocks away, and Priya Kambli had just wrapped an artist talk right there at the CAC. The last of my guides was photoNOLA chief Jennifer Shaw, whom I’d yet to meet.
Did I suspect a set-up? Of course. But I didn’t care either way. What a great opportunity, and it just dropped in my lap. I’d been thinking about how to include more female artists in my articles, and there they were. (Was it just like having brunch with Carrie, Samantha, Charlotte and Miranda? No, not at all. Does my cliché reference make me square? Probably.)
We went to see Sarah’s show first, in a shiny, beautiful white gallery space. The photographs were still life masterpieces: objects from the Anniston Museum of Natural History in Alabama, (where the artist lives,) combined with her own possessions. (Mostly food.)
The photographs looked like twisted visions from a Victorian Curiosity Shoppe. Lots of dark, rich browns and plenty of dead things. The photos were very sharp, as well as sumptuous. Sarah told us she thought female artists were more motivated by intuition than were men. The other women all agreed, heartily, and the best I could muster was, “I’m down with the ladies.” (Yes, that’s a direct quote.)
Sarah shared a bit about her insanely intricate process. Apparently, she wasn’t happy with the sharpness of her lens across a variety of focal planes, so she put together the tableaux in pieces, shot by shot, with as many as 200 photos per picture. (A few inches of focus at a time.) I think that much composting in Photoshop would drive me back to coffee. (Or cocaine.)
They were incredible photographs, for sure, but didn’t speak directly to my viscera. It made me wonder about the intersection of gender and taste. Is there a feminine aesthetic, relative to a masculine one? Furthermore, does the male view still predominate throughout the art and photo worlds? (Again, probably.) But most of the curators and photo editors I know are women. And given that women now outnumber men in college, and seem to have the upper hand in the economy of the future, (health care, education) at what point will the scales tilt?
I’m not suggesting that equal rights have been achieved. Women still earn less on average, and are hampered in career tracks when they take time out to have kids. But I know more than a few families in which the woman is the primary earner, including my own. The story is far more complicated than it used to be, thankfully, and progress is undeniable. (Let me also shout out Taryn Simon and Susan Worsham, two of my favorite photographers working today.)
Back in NOLA, we walked the two blocks back to the Contemporary Art Center, and I got to speak to Priya for a few minutes.
She told me she teaches in rural Missouri, having studied in Louisiana and Texas, so all three artists have Southern roots. (For fun, try saying “rural Missouri” five times fast.)
Her photographs, at the CAC, were installed against serene blue walls. She’s from India, originally, but has lived in the US for many years. The color scheme references her background, I’d guess, as it’s a powerful theme throughout the work on display.
The pictures were, for the most part, diptychs printed together. One panel would contain scenes from her family domestic life: little toys and household objects and constructed things. They were personal as well as sculptural. Very well seen. The other panel would typically be a historical-looking portrait of family members back in in India.
Beautiful work, beautiful show.
After a few minutes, we piled into a very small car to go see Kathleen’s exhibition. There was a class going in inside the multi-purpose space, so by the time we got in to see the show, it was nearing dark on my last night in town. I was exhausted and drained, and couldn’t spend more than four or five minutes with Kathleen’s pictures. My apologies.
These reeked of a bleak, wintry, poor South of which I know nothing. The artist is from Mississippi, and the photos were of her family, herself, and the area from whence she comes. Lots of broken down shacks and barren fields. (I recognized one image from Fraction Magazine, and realized that I had seen the work before.)
The pictures are lyrical and Romantic; about place and home and sad light. Were they feminine as well? I suppose so, but they clearly had some edge. I responded emotionally to this show, most of all, and could almost hear some dark blues music in my head. (Or Ry Cooder’s opening riff to “Paris, Texas.”)
Did it make me want to go to Mississippi? Not exactly. But these three shows did give me a lot to think about. They were a great reminder that looking at art made by people of different backgrounds (or genders) opens one’s mind. I’ll keep on trying to maintain the balance, in 2013, as it benefits us all.
Photographer: Paul Morrison
by Jess Dudley Wonderful Machine
Concept: Lifestyle images of guests enjoying a new hotel concept and Architectural images 0f the property itself
Licensing: Advertising, Collateral and Publicity Use of 17 images, US Only
Location: Hotel property in Northern California
Shoot Days: Two
Photographer: Up-and-coming architectural, hospitality and lifestyle specialist
Agency: Mid-Size Chicago-Based Agency
Client: International Hotel chain
Here’s the estimate:
Click to enlarge
Concept, Licensing: The goal of the project was to promote the new hotel chain in a series of three web and print ads featured in a variety of business and travel publications. The client also wanted to capture additional shots to populate the hotel’s website. The shoot would take place over two shoot days at a newly renovated hotel property in Northern California. The photographer would need to create lifestyle images of professional talent enjoying the various amenities (spa, business center, restaurant, gym, etc.) and architectural images of the property (with and without talent). The “hero” shots for the ad campaign would consist of two lifestyle images and one architectural image highlighting the new hotel vibe. The 14 other images would consist of a mix of lifestyle and architectural images and be used only on the web, although the client requested the same licensing to be granted across the board.
Based on the number of hero shots, the number of secondary images, the photographer’s experience, the straight forward concept and the licensing restrictions (1 year, US only), along with my experience with similar projects, I set the pricing for the hero shots at $10k for the first and $5k each for the second and third for a total of 20,000. Since the usage was primarily in those first three images, I set the 4th and 5th at 2000.00 each, and 6-13 at 1000.00 each and 14-17 at 500.00 each. This brought the total licensing fee for all 17 images to 34,000 (which only coincidentally pro-rates out to 2000.00/image). I then checked my rates against a handful of previous estimates and outside pricing resources. For an “up-and-comer” Blinkbid suggests 6900.00-12,075.00/image/year. Corbis prices the “All Marketing Pack” at 17,500.00 for one year (or 14,356.00 for 1 month). Photoshelter‘s stock pricing calculator prices the “All Advertising and Marketing Pack” at 9,654.00/image for 1 year or 15,761.00/image for five years. Though the time ranges are different, you can see that the stock pricing calculators heavily front load the value of licensing, just as we do.
Photographer Travel/Tech Scout Days: I estimated two days for the photographer to travel to and from the location and to scout. Since the Photographer would be flying west, it was possible to travel in and do the tech scout on the same day.
Equipment Rental: We priced out the cost to rent two camera bodies (600.00/day), two power packs (150.00/day), and lenses (150.00/day). The photographer would be bringing her own grip and decided not to charge for it to keep the budget down a bit.
Basic File Prep, including upload: This covered the cost to handle basic color correction and blemish removal and the upload of the images to the agency’s FTP. Anything over and above the basic processing would be considered retouching and billed at 150.00/hr.
Retouching Hours: The agency requested we include retouching for the three hero images. We estimated 2 hours per image at a standard retouching rate (not only to compensate her for that time and expertise, but to cover her if she got busy and had to farm it out to a freelance retoucher).
Producer Days: I included 6 producer days. 2 prep, 1 travel/scout, 2 shoot and 1 travel home. Since the photographer would be flying in for the shoot, it would be OK to fly her usual producer in for the project.
Production Books: We budgeted for the time and cost to produce a printed production book. Since we would be shooting a fairly extensive shot list in a sprawling location with a sizable cast and crew, it was important to create a comprehensive production book to keep everything on track. A production book typically consists of 5-10 pages of pertinent contact info, location info, directions, calendars, schedules and concepts, basically a summary of the production for quick reference throughout the shoot.
First Assistant, Digital Tech, Production Assistant: The photographer typically travels for most of her shoots and doesn’t have a regular 1st assistant, so we budgeted for a local first assistant. We included a digital tech and a production assistant (PA) to use as a runner and extra set of hands.
Casting & Talent: We estimated for a local casting agent to hold a live casting to source the 6 talent we needed (3/shoot day). The model rates were dictated by the agency. I would have preferred to push the rates higher to ensure we drew the best talent.
Stylists & Wardrobe/Props: We budgeted for a four person styling crew to handle hair/make-up, wardrobe and minor props like suitcases, briefcases and electronics. Had the prop requests been more substantial, we would have brought in a dedicated prop stylist. Our wardrobe stylist estimated and average of 400.00/talent for non-returnable purchases and rentals.
Catering: I budgeted 40.00 per person for up to 20 people on set each day. The cast, crew, agency, client and location contact list added up to 18. As is the case on most shoots, the client or agency will inevitably bring more bodies to set, so I accounted for 20 per day.
Travel Expenses: Using Kayak.com, I estimated the cost for airfare (including baggage fees), car rentals (including insurance and gas) and lodging (the hotel we were shooting at was fully booked) for the photographer and producer.
Miles, Parking, Meals, Tolls, Shipping, Certificate of Insurance, Misc.: I estimated 150.00/day on site to cover non-catered meals and expendables, 100.00 to secure a certificate of insurance (COI), and 250.00 in meals, mileage and parking for the return travel day.
Housekeeping: Some of the shots would feature hotel staff and/or food prepared by the hotel so I made sure to indicate those would be provided by the hotel. And of course, the location would be provided as well. I also noted advance requirements and that the client/agency would be responsible for any applicable sales tax.
Results: The photographer was awarded the job.
If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns
Photographer: Ditte Isager
It’s just past the time of the year when everyone has posted their favorite photography books from 2012 and I thought I’d get in on the action, but because I’m very edgy I’m picking a book from 2011. Ok, actually I bought it last year intending to write about it, but my motivation left me somewhere along the way (almost didn’t do it again). My pick for for a timeless book everyone should own is The New York Times Magazine: Photographs edited by Kathy Ryan.
If you’re a fan of editorial photography, you know that The New York Times Magazine is the gold standard. This is not because they have their pick of photographers or because they publish weekly and have lots of assignments to hand out or because they’re not sold on newsstands so they don’t have to do many of the stupid things other magazines do to hit promised circulation numbers. All good reasons but no that’s not it. It’s because Kathy and crew swing for the fences with their pairings. They pair ambitious projects with ambitious photographers. They pair subject with a photographers particular experience and interest. Like a sommelier in the editorial department, they know it’s the chemistry between subject and photographer that makes incredible, memorable, home run photography.
This would be a great book if they simply picked the best photography from the last 33 years of the magazine and shipped it off to the printer. What makes it incredible and a valuable resource for anyone in the photography business is the commentary that accompanies nearly every image. The photographer, the subject, or one of the photo editors gives anecdotes about the subject, the shoot and even the circumstances surrounding the assignment. For me, it was like being in the photo department at The New York Times Magazine. An incredible treat for someone who loves magazine photography. If you’ve spent your career looking at photography like this, you will pick up the subtle difference when a great pairing is made.
Here’s a sample:
RICHARD BURBRIDGE
Author Tom Wolfe. Frome “Wolfe’s World,” published October 31, 2004.
For me, Tom Wolfe’s eccentricity is wonderfully expressed in this picture, by that crazy smile. He was charming. I thing that, above else, Tom Wolfe wis absolutely charming. And when I was equally charming, he was more charming. I like a portrait session to last ten minutes. When it goes past ten minutes, I’m in trouble, of something strange is happening. Because my photo-shoots are uncomfortable for most people. — RICARD BURBRIDGE
DAN WINTERS
Filmmaker Spike Jonze. From “Spike Jonze’s Wild Ride,” published September 2, 2009 (cover image)
I have to say, Dan was pretty patient with my back-seat driving. I definitely had opinions on what the photos should be. I think he has an ego as a photographer, in that he wants to make something he is connected to, but not so much so that he doesn’t also want the photo to represent the person. —SPIKE JONZE
NAN GOLDIN
Artist Kiki Smith. From t”The intuitionist,” published November 5, 2006.
Sometimes the slightly out-of-focus image is the one to go with. To me, this image is absolutely alive. It just breathes. And that celestial blue light brings to mind the hues and spirituality of Giotto. Goldin is a defining photographer of our time, who skips back a couple of centuries for her inspiration. — K.R.
GUEORGUI PINKHASSOV
Petlyura’s artists’s squat in Moscow. From “Young Russia’s Defiant Decadence,” published July 18, 1993
Gueorgui Pinkhassov says that he doesn’t have a particular intention when he is photographing; he is interested in something he doesn’t know. When he is shooting, he ignores the action and concentrates on the movement and intersection of purely visual elements–line, form, light. “Don’t be afraid to take bad pictures,” he says, “because good pictures are the mistakes of the bad pictures.” In this photograph, there are four separate actions that all weave together: one person lifts a cigarette, one tosses a ball, the dog looks on, and the Lenin-like figure drops the flag to the ground. For Pinkhassov, life is really like a tapestry—he’s never shooting just one thing, there are often several things happening simultaneously. –K.R.
As unsavory as the paparazzi may be, it’s fairly difficult to craft a law aimed at reining them in that doesn’t clash with the rights of a free press as laid out in the U.S. Constitution. The best way to cope with this issue is not by passing new laws that target photojournalists but by more aggressively enforcing existing laws against driving too close, speeding, trespassing — and jaywalking. Judge Thomas Rubinson, who ruled that the 2010 law was too broad, suggested that lawmakers could have just increased the penalties for reckless driving.
Photographer: Yoshiaki Sekine
