What Expenses are Associated with a Shoot
Lesson 23 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
What Expenses are Associated with a Shoot
Lesson 23 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Lessons
Class Introduction
05:06 2How To Get Work As A Food Photographer
02:54 3Understanding Your Skill Level and Your Market
03:20 4How To Grow Your Business
01:28 5Opportunities In Commercial Food Photography
08:17 6How Do You Market Yourself
08:23 7The Importance of Attitude and Communication
03:30 8Understanding Insurance Responsibilities and Liability
05:38Understanding Taxes and Accounting
03:11 10The Importance of Representation and How To Get It
09:59 11File Management and Protection
02:40 12Understanding Stock Photography as a Business
04:59 13Contracts: The Law and Your Rights
03:18 14Negotiating with Clients: 10 Questions you Need to Ask–Part 1
06:57 15Negotiating with Clients: 10 Questions you Need to Ask–Part 2
05:16 16Negotiating and Talking Money with Clients
02:31 17Who are the Players in Commercial Food Photography
09:43 18How to Manage Client Expectations
02:38 19How to Assemble a Team
04:11 20The Production Team
04:48 21On Set Support
04:51 22Editors and Post Production
02:47 23What Expenses are Associated with a Shoot
04:01 24What is Usage?
05:35 25How to Anticipate Expenses
02:56 26Calculating Price Based on Rates, Usage and Expenses
03:35 27Where do You Go Next?
03:17 28Continuing Education and Research
06:28 29How to Get your Work Out There and Get Noticed
02:47 30Treatments and Final Wrap-Up
06:23Lesson Info
What Expenses are Associated with a Shoot
all right. Just charge as much as you want whenever you want and see how that works out. OK, I'm done. Clearly not done. Okay. Ah, Being versed in all of the related expenses attached to food photography is sort of the first thing you need to learn and understand when you're deciding how you're gonna price you work as a food photographer, the simple there is no simple equation. There is no magic bullet. And I know that ultimately that is something that everybody wants to just have in their pocket and say, I know what I want to charge. But as you've already learned throughout all the lessons that we've talked so far is that this is a complicated industry and that you need to have a lot of base of knowledge for different things, to understand how to appropriately price a job, but just a starting point. As a food photographer, if you're not the person cooking, styling, propping all your own stuff, you're already into many, many more things than a beginning photographer in another venue. O...
r like if you're a landscape photographer, go out and take pictures of pretty landscapes, you know, like it's not that complicated as far as production is concerned. But this is an an understanding. That landscape is why it's so impossible when someone says to me, What should I charge or what do you cost? So we're gonna go over a lot of different kind of pieces of this puzzle and understand that client needs budgetary constraints. Then you they're operating in all the things that we've talked about, all the language that I've been throwing out you when it comes to these things all really matters on before you create art for a client and you have to understand, like what you're selling to them as far as your rights a concerned. And we talked about that already already. So we're just gonna keep layering it on and layering it on until we have a full understanding. The ah, the other thing about is your time and what time takes to build into a photo shoot. So a photo shoot isn't just the day you step on the set. The photo shoot is all the stuff that goes before that. So if you are taking time to do prep work, if you're propping it out yourself or your prop stylist is propping it out, and your food stylist needs two days of prep for shopping and me. Some plus all these things need to be calculated and and communicated to your client when we're talking about how much time and energy it's going to take to do your photo shoot. So as the chute gets bigger, you can't just lump it on. And I think when you when you express that to a client and you be in your clear in your expectations about what you can do for them, then they could be clear with you about what it is they're getting. A lot of times I hear from photographers that they get boxed into a price, and then the scope of the job changes. And that's why it's really important not to throw a number at somebody before you understand the scope of the job. So a good portion of what we're going to talk about is understanding the scope of the job that you're pricing before you throw a number at somebody, because the tactic for lots of you know creative uh, art buyers is to box you into a number and then get you to work mawr for that number. And if you are more coy about how you present numbers to clients and you are more communicative about how you want that to play out, you will be able to have a more successful relationship with the client, and you will make more money in the process. So we talked a lot about educating your client about the cost of stylists and props and food costs in space and deliveries and transportation and equipment and all these things. And we're gonna continue to talk about those and then how the rates exists in multiple venues. So we talk about editorial publishing, advertising, branded content, direct client access, all of those things.