Andy Anderson was fortunate to have been chosen to shoot for the Trump Hotel Collection and MMG Worldwide. It was shot over a few phases and we are just now getting to share some of the new. What a fantastic project. Thank you to everyone who made it happen!
Our latest contribution to Agency Access’ blog The Lab is posting today. It shares some methods to determine pricing stock photography. Be sure to link to the blog directly to read answers from industry experts on many more questions.
Question: What are some methods to figure out pricing for the licensing rights of photographs I want to sell as stock?
As is the case with so many aspects of our industry, there are not many hard and fast rules when it comes to estimating fees. So much depends on the final number and the reasons for the wide swings in prices vary from project to project and photographer to photographer.
When a client calls us to license an image for stock use, here are a few ways we determine the price.
Things to Keep in Mind & Questions to Ask
• How iconic is the image? Is it an image that is an important image in the photographer’s collection? Did it help define his/her style? If so, are these images priced higher than others?
• What is the usage? If the client is purchasing a large amount of usage, are they intending to actually use the image in all of those places or do they just want to own it without restrictions?
• Do they have a budget? Knowing this is helpful in saving some back and forth. Your images may be worth more to you than what a potential client can afford.
• Are they also considering commissioned work? If so, are they looking for stock as a lower priced alternative? Or, are they choosing stock because of deadline issues? Sometimes they are willing to pay more if they need the image faster than if they were able to shoot it.
• How high is the production value of the image? How much would it cost to reshoot this image? The higher the production value of the image is, the higher the cost of the image.
Once we know the answers to those questions, we look for comparable sales or commissioned works in our history. Our experience in licensing images for stock use helps a lot when pricing new requests.
If you do not have experience to draw from, here are some tips for pricing stock images:
1) There are online resources such as ASMP’S Licensing Guide and APA National’s Business Manual that can help educate you on the process and help you determine what a reasonable approach is to licensing your work.
2) There are programs available such as Blink Bid , fotoQuote Pro and HindSight. HindSight. All are photography pricing guides that help you determine a fair price for your image.
3) The larger stock houses allow you to choose images and get a quote for using the image. This is helpful as a reality check against the rate you are considering charging. Just be careful because it is hard to determine if the image you chose is valued the same as yours.
Regardless of how you arrive at your pricing, we know that the more you estimate the more experience you will have. And the more experience you have, the more confidence you will have in setting the prices for your own images. It important to always remember that your images are only worth what the market will bear, so always be aware of what available options and resources you have.
Hunter Freeman recently went to the At Edge Face to Face event in NY. It was the first one I had missed so I was very interested of course to hear what he had to say. When he returned, he wrote this for our blog.
“It was really a great time, and I can’t wait to go to the next one. At Edge really delivers on the opportunity to meet so many different influential people in our industry. There were creative directors, art buyers, agents and photographers and they all were interested in getting to know each other. The night was filled with great conversation and sharing of ideas. People were inspiring each other and encouraged by the camaraderie.
I walked away feeling like the trip east was a huge success. I don’t often get to share my own work and doing so in this environment got me excited to do so more often. There is nothing like the value of a one on one connection – whether it be with someone who has the potential to hire you or someone who does what you do.
I believe that down the line, events like this will be one of the most powerful ways that photographers will be able to connect with AB’s/CD’s face to face. The increase in other “Pay to play” arrangements is proof that both sides of the table are appreciating the opportunities offered by such an arrangement. I can say with confidence that this is a trend that will continue to grow.”
Our latest contribution to Agency Access’ blog The Lab is posting today. It addresses the question of what sets you apart with client’s who are considering you for a project. Assuming they like your work, how else can you stand out? Be sure to link to the blog directly to read answers from industry experts on many more questions.
Question: What is the most important attribute you would sell to a potential client other than the obvious? Most likely they would not be talking with you if they did not like your work.
Assuming that your work is relevant and strong, the next most important attribute to sell to a client is your story. And, in our new media world, the opportunity to do so has gotten easier.
We always ask our photographers the following:
“Assuming all things are equal, and your portfolio is on the table or your website is on the screen – next to another talented photographer, what is different about you and how will we communicate that?”
We remind our photographers all the time that people crave stories. Stories are what people remember and seek out time and time again. Stories that come from an honest and genuine place and push ones’ comfort zone often times are seen as refreshing in their visual world.
We understand that photographers have built careers knowing that “a picture is worth a thousand words,” but things have changed and most times it is n longer enough to just have the best shot.
It is time to realize that it is no longer just about the photographs, but about THE PHOTOGRAPHER and the story behind the images. It is crucial to understand that at times, having great work is not enough and that clients often want to know the story behind you and your work. They want to know what it would be like to collaborate with you long before they pick up the phone to talk with you.
Photographers are realizing this and finding their own voices and it is making a difference in their creativity and ultimately their careers. With the growth of blogs and other social media tools, it has become easier and easier for photographers to share the story behind the image.
And if You Have Not Jumped on the Social Media Bandwagon …
For those photographers not embracing social media, it is a bit more challenging to effectively share your story on a wider scale. However, it is possible. It just requires more face to face time; something that is a scarce commodity nowadays.
We find that photographers who are not out there in the social media world are not quite sure yet how to navigate the new tools. We explain that if they are not confident writing a blog or posting a status update, they should find a way to visually connect. We advise our talent that the images they share do not have to be all work related. We suggest more casual ways of engaging such as posting photos of things that inspire them shot with an iPhone, sharing images of their kids or photographs of random things that make them smile. Byremoving the pressure of having to write something or showing that perfect shot, many photographers begin to open up and show a side of themselves they haven’t shared before.
Regardless of how photographers share their stories, it is the single most effective way to differentiate yourself and your work. The power of storytelling is an age old gift and those photographers that can find ways to not only tell their stories but to share them will surely stand out.
When I first met Hillary, it was when she worked at Crispin Porter and Bogusky in Colorado. I knew we would like each other when she immediately accepted our invitation for dinner at a nearby restaurant; The Kitchen. I mention the name only because it was fabulous and their own wine was equally as fabulous. Maybe that is why we had such a great time. Needless to say, we kept in touch and have enjoyed getting to know each other and working together over the years. Hillary recently moved to NYC to work as a Senior Art Producer Saatchi & Saatchi and she continues to be one of the “good ones.” Thank you Hillary for taking the time to answer our questions, reply to our emails, host our portfolio shows and of course making our job more fun!
How do you search for photography nowadays?
I am huge about asking my fellow art producers who they love or have had successful shoots with. I also like checking with the gang over at the Art Producers Forum and Yahoo and Facebook as they are always there for a quick reference as to who is doing great stuff. Word of mouth can go way further than a million promos or emails!
Where do you find inspiration?
I am a magazine junkie and love seeing great work done in all of the various publications that I subscribe to. I also look at promos (if they are easy to open and don’t come from the same photographer every other week)! I love meeting reps and photographers in person so that I can put a name to the face and promo!
What are you reading online?
Right now I check out various blogs that are either photography related blogs (Aphotoeditor) or sometimes a photographer’s own blog that aren’t all advertising focused and more just an interesting read. I also love myself NYT!
What are photographers doing lately to stand out from their competitors?
I find a lot of photographers making personal calls themselves these days and touching base in a more social atmosphere. I also find more links to blogs and personal work done outside of advertising which helps to see what a
photographer’s actual interests are!
What does your client value most from a photographer? Does that differ from what you value? And, has that changed over the years?
Recently there has been a lot more pre-production meetings being done over the phone and there is nothing that pleases the team and client more than a photographer who can give “good phone”. It never hurts to act like you are uber enthusiastic about a project and offer up details on how the shoot is going to go down. And when the actual shoot does happen it always helps to have a calm, but commanding presence over the whole crew. The client loves updates and check-ins just as much as the art producer does!
A few months ago, I was asked by Heather Morton to participate in an event she was hosting. She wanted to video tape our chat and use it in a presentation she was giving on the state of the photography industry. She sent me a series of questions in advance to think about. One in particular stood out to me and I knew that someday I would want to explore it more.
The question was, “Is there a particular image out there that inspires you and keeps you excited about working in photography.”
I thought long and hard about that question. It was challenging at first because as a commercial agent I see SO many amazing images. I am constantly in awe of the talent I am surrounded by and have a deep level of appreciation for the art. To say there is one image that keeps me going is to be unfair to all the powerful work out there.
What I am continually inspired by though are photographs that share with me the history of my family. I love old family photos and am always looking for different ways to showcase and share them.
When my grandmother passed away, my mother gave me a beautiful tin of old photographs that she had been saving. They had jagged edges, wrinkles and were of course black and white. Each one had a name, date and location on the back in my grandmother’s old fashioned handwriting. I loved them so much, I had them scanned and made a small book that I gave to each of my family members for Christmas. I love to flip through it with my children and tell them the stories my mother told me when she first shared the photos with me.
My favorite collection of family images though is a wall in my house that I have dedicated to our family history. Each time I walk by this wall I am reminded of the power of a photograph. Each image has a story and evokes a different emotion in me when I recount that story.
It is these images that keep the power of photography alive for me.
© Leigh Beisch - http://www.leighbeisch.com
A few months into her new Art Production business, Julia Cunningham seems to have found a groove. Apparently, it is true that the more things change the more they stay the same. Thank you Julia for your latest insight into what it is like out there on your own.
Here is what she has been thinking about lately.
“Since starting my own Art Production consulting business I’ve have the opportunity to work for different organizations. Within a short amount of time it’s become apparent that no matter where you work in advertising, certain facets of production remain constant: All projects will need to be estimated upside down, right side up, and sideways before the actual project is approved. The production calendar will need to be pushed back to accommodate the deadline of a last-minute media deal, and undoubtedly budget maneuvering will be necessary due to an unforeseen client change, additional usage, or a prop that will make or break the creative.
I actually take comfort in knowing that although every agency has a different philosophy, different operations, and varying degrees of hip social activities to make the “best companies to work for” list, these day-to-day issues are universal.
As I’ve become accustomed to various working environments, I find the best way to overcome the obstacles (no matter how expected they may be), is face-to-face collaboration. After spending a few weeks working on a project in the solitude of my home office, I yearned for co-worker interaction. I miss bouncing ideas off others or being able to swing by someone’s office to ask, “Do we have client approval?” I realize we live in a digital age, and that email, instant messaging and cell phones should be sufficient… but as speedy as our digital age has become, it still doesn’t beat an in-person project regroup. To me, these are mini problem-solving sessions with a little support group thrown in.
Working in your PJs from time to time and doing a load of laundry while sending emails definitely has its perks, but getting out there and working face to face is not only necessary for networking, but for exploring new and better ways to work. “
I love it when photographers take time for themselves to shoot what has been on their mind. I love it even more when it is not in their own backyard and they venture out to chase their vision. David Martinez recently headed east and was thrilled with what he discovered. Here is what he had to share about it.
“I had wanted to do a personal project on New York City surf culture for some time now. After a little talking around, it seemed like Rockaway Beach was the place – a beach accessible by subway from Manhattan. My producer and I arrived in New York City on one of the hottest weekends of the year. As temperatures rise in the city, so do the number of Manhattanites wanting to take the A train out to Rockaway. It was going to be a busy weekend out there.
3 trains, 2 transfers and 6 bottles of water later, we arrived in Rockaway. We had done a little research before the shoot and through a dizzying tangle of personal connections, we found who we had heard was the unofficial mayor of Rockaway Beach. TJ, was a local guy, a lifelong surfer who was kind of enough to meet us at the subway stop and show a couple of us left-coasters around his neighborhood. Among hoards of other city people, we surfed, ate at the local taco shop, and met TJ’s Uncle Rick on the boardwalk (pictured above). Late in the afternoon – blazing sun and humidity turned to torrential downpour- and all 6 of us piled into TJ’s truck to head to the local pub for shelter. I was a little disappointed at first that the weather had turned just when the surf was about to get good.
Amongst the running and laughter and cursing the rain as we piled into TJ’s truck, a beautiful thing happened that always makes for the most interesting and dynamic images. We all just let go. We stopped trying to get on the perfect wave, get the perfect angle, the sun in just the right place. It happens that most of my favorite images from the trip were created in this way.
Moments between moments.
When the veracity of feeling replaces orchestration. All of these images were made in this space in between….”
To see more of David Martinez’s work, please link here.
Thank you Jimmy Bonner, The Richards Group and Ram Trucks for the opportunity to work on such a fantastic campaign. And, of course, thank you to our crew for helping making it all happen. Dust storms and all.
To see more of Andy Anderson’s work, including other work he has created for Ram, please link to his site.
© Ron Berg - http://www.ronbergphoto.com
Ron Berg is still relatively new to our group so it was fun to learn some new things about him. Who would have guessed #7? Thanks Ron for sharing.
1) Has a sneaker addiction. Yes over 100.
2) Dart hustler
3) Dive foodie. Doesn’t have to be fancy for The Berg just bring on the grub.
4) Likes canned yard beers the best of all adult beverages.
5) Has inoculated a whole herd of cattle before.
6) Still has a fondness for all genres of 80’s music
7) Has a pickle addiction. “Puts up” 40-60 quarts every year to feed the addict.
8) Cover my ass mentality is starting to wear on me.
9) Thanks to Ronald McDonald, Burger King, and Icebergs. I have a bijillion nicknames thru-out my life. Seems like everyone has a different one for me.
10)Has Hoarder tendencies, but his wife won’t let it happen. In a middle of a purge again, as we speak. Hence, I love auctions!
If you would like to get to know Ron’s photography better, please do check out his site.