Switch from "semi" to "pro" rates????

[faneuil]

Just got inquiry from big mucky muck at big international magazine.
They used some of my work and liked it (for free - it was PR pics
from a local museum installation shoot)
They now want to know my rates.
Yowsa!
I really need to look as polished as possible for this one friends....
Locally I've always charged an hourly rate but I am not sure if that is how the big boys play.
Can anyone recommend competitve rates or share their rates for:
shooting artist portrait
covering an art opening cocktail reception
shooting interiors of an art installation

I've charge $50 to $75 per hour for
setup, shoot and edit time depending on the job.

I have to get this one right as it could be a big break..
Tapping nervously from the woods of VT on my iPhone.
Thanks
Eric

 

[Graham Mitchell]

Well, if you want to look 'polished' then don't forget to ask for the usage of the images (For example, will the portrait be used on the cover of TIME magazine?) If the usage is tiny and local then you could offer to waive the licence fee for that usage.

As for rates, I think a pro is expected to work to a fixed price rather than an hourly rate. You should be able to predict the time involved. Finally, the rates of other photographers around the world won't help much as most cities have their own expectations of rates. They can vary enormously depending on location, and the level of the photographer.

Good luck!

 

[Don Libby]

I did some work for a major construction company here in Tucson which involved documenting existing conditions in and around a major golf course; club house, exteriors of the hotel buildings and the surrounding multi-million dollar homes in the adjacent area. All this was to provide the pre-existing conditions prior to the company coming in to do a major demolition which included among other things a wreaking ball and jack hammers.

While I charged a flat rate I came up with that amount by factoring in the total time it'd take me to shoot the place (several days) as well as the processing time as well as the travel time needed; I then tacked on an extra 8 hrs to cover Murphy's Law. I figured what I would charge by the hour multiplied that by the number of anticipated hours and came up with the price; in the end I charged something like $9,600.

This might not exactly fit your situation however it's an expansion of what Graham has said. And be very very careful of usage rights!


Don

 

[Don Libby]

Don't be fooled by prices. If I attempted to sell my landscape work locally here for what I could get in say Carmel CA I'd go hungry. Location will often dictate cost before the level of photographer. Just my 2¢


Don

 

[TRSmith]

I seem to remember published reports of typical fees by region and specialty that are sponsored by various professional photography organizations. They're probably pretty generalized, but they might provide some examples of language.

Back in the way back when I was hiring pros, Day Rates ruled. They could be broken into various fractions of days at the discretion of the photographer—some only went as low as half a day. Those day rates also included disclaimers for extras that included things like travel, meals, models, props, equipment rental, etc.

Good luck with your new opportunity!

Tim

 

[Godfrey]

1- Join Editorial Photographers (http://www.editorialphoto.com/) They have good advice on this front, access to templates for assignment/license usage contracts, etc.

2- I use FotoQuote Pro to assess license usage rates, etc. It's often a bit on the high side for many clients, but does a good job.

3- Assignment hourly rate, equipment usage fees, any rental equipment expenses, AND post-processing/delivery rate must all be considered when writing an assignment contract.

4- ALWAYS write a contract for every assignment or license usage arrangement. Be sure to articulate precisely what the job is, what the deliverables are, when the deliverables are due, the fee schedule plus means and time of payment.

Being a professional means acting like one. As well as producing the goods desired by the client. Always think of the work from the point of view of what the client sees, not what you see. ;-)

 

[Don Libby]

Also don't forget about obtaing the proper license and insurance.

 

[faneuil]

thanks to all ! it was a big help and I have submitted my bid to the magazine.
- plus I joined Editorial Photographers.
Seems there are many many photog organizations out there.
Which others are the best to belong to as you start to build some clout as a pro photog?
I just don't want to apply willy-nilly.

thanks.
Eric

 

[Godfrey]

thanks to all ! it was a big help and I have submitted my bid to the magazine.
- plus I joined Editorial Photographers.
Seems there are many many photog organizations out there.
Which others are the best to belong to as you start to build some clout as a pro photog?
I just don't want to apply willy-nilly.

Depending upon the market you are working to enter, one of the news/journalism organizations (NPPA and similar) or the arts/media organizations (ASMP) are probably worth it. I belonged to the NPPA (National Press Photographers Association) for a couple of years, but my work is really more in line with the ASMP (America Society of Media Photographers) so I've changed to that. There are many others ... and local subdivisions too. These two are big and internationally recognized. They offer services ... go to their websites before applying and see which services line up with your needs/desires best.

 

[faneuil]

much thanks - just got accepted to EP and ASMP.
Maybe a small nothing, but still feels good to be accepted.
Rate info on EP and sample contracts are a great help.

cheers
Eric

 

[Godfrey]

much thanks - just got accepted to EP and ASMP.
Maybe a small nothing, but still feels good to be accepted.
Rate info on EP and sample contracts are a great help.

Glad to help!