JUST ANNOUNCED! Estimates & Bids

Back in October, we launched Assignment Construct, which delved into the what, where, when, why and how (not so much the who), of assignment photography. To date, nearly 20,000 people have looked at over 50,000 pages of those insights.

So, what was missing? Well, aside from the "who", it was really, the "how much."

(Full post and comments, after the Jump)

Enter Estimates & Bids, and the approach that "many minds, useful results" can provide insights to all.

One of the things that has been happening for probably seven or eight years, is that friends and colleagues have been calling to bounce ideas off me as to pricing and negotiating for a wide variety of assignments. These are calls I was happy to take, and moreover, I've made a few calls myself.

Of late, I've been getting a nice collection of e-mails of the same nature, and moreover, I get the calls and e-mails myself from prospective (and repeat) clients, all looking for estimates for the work I do for them. These inquiries go beyond the inquiries I get that can be resolved by referring to my online calculator on my pricing pages on John Harrington.com. So, what better way than to take those requests, and shine the light of day on them in a public forum. To engage the collective mind, and do a little learnin' in the process?

So, if you're writing to ask me how I might price an assignment, I'm happy to help, and the conduit not only to my help, but that of the collective brain trust of photographers, is Estimates & Bids. Friends and colleagues will continue to call, but, the results of that exchange will (with their permission) likely end up on Estimates & Bids. You will then have the opportunity to put in your two cents, ask questions, and everyone benefits.

But, this is interactive. This requires participation in the comments section of each post. But, for a number of reasons, we've opted to keep the comments moderated, so the level of comment and learnin' will be much higher (hopefully!).

This will, by no means, be something that would take the place of Blinkbid or fotoBiz/fotoQuote. In fact, those software packages should be what you use to prepare your estimates to send off! They have things like terms and conditions, coaching capabilities for your phone calls back and forth, databases of past work, and tracking capabilities, secondary pricing modules for post-assignment stock inquiries, and so forth. I certainly rely on fotoQuote on what seems like an almost daily basis, but which I can be sure is definitely a weekly basis!

Lastly, if you have an inquiry from a prospective client, send it along, and we'll consider posting it with (hopefully) enough time between when you send it and we post it, and when you need to send in your own estimate. Perhaps this will help you in providing a thoughtful response to your prospective client's request.

So, please take a look. There are three real assignments aready up - two assignments I got a call for, and one that was an inquiry from a colleague, to lead things off.

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Li-Ion Battery Ban Solution for Airline Travel

There is, rightly so, a great deal of consternation as it pertains to batteries that will be aboard aircraft, effective yesterday. I'd hate to be traveling on assignment with gear in the coming weeks (thankfully, I am not, as of now, scheduled to travel with cameras in the coming weeks), while the TSA gets their act together and learns how to handle professional photographers and videographers under this DOT/FAA change.

In the interim, what can we do, and how, exactly, does this affect us?

Let's look at specific batteries, do the math, and offer a few solutions.

(Continued after the Jump)

Geek Alert: If you're in a hurry, or confuse easily, skip to the bottom for the conclusion...

First things first - the AP is reporting "...air travelers will no longer be able to pack loose lithium batteries in checked luggage...Passengers can still check baggage with lithium batteries if they are installed in electronic devices, such as cameras, cell phones and laptop computers...."The ban affects shipments of non-rechargeable lithium batteries...", but the AP, according to the official DOT website, there is no distinguishing between rechargeable and non-rechargable.

It' all about total Lithium-ion battery content. The full rules were published in the Federal Register back in August, probably when most of us were on vacation and not doing our daily read of the Register. It can be read in PDF form here. (this is worth printing and carrying with you, highlighted where it best serves you, as a part of your travel documents. For those of you not wanting to delve into the nuances of lawmaking, which, like sausage making, is best left unviewed, you can skip to page 22, and highlight the Part 175 section.)

A few worthwhile excerpts:

~ For example, several thousand small lithium batteries consolidated together present a higher potential risk than a shipment of a single lithium battery

Thus, why each passenger can carry a few, because they are expecting that several will carry a small amount. Woe-be-the-press plane with hundreds of battery packs in the hold, or carryon! Political campaigns, are you listening?

~ The amendments adopted here include tightened testing standards to ensure that batteries that pose the greatest risk in transportation are designed to withstand normal conditions of transportation and packaged to minimize risks of mishandling or damage in transit.

Thus, you can expect,in short order, that manufacturers will change the labeling on their batteries to say "air worthy", or some other designator. This is a boon for manufacturers, who will not be able to sell new batteries to all those currently with batteries, because the new batteries will be designated "air worthy."

The FINAL RULE, as outlined in the Federal Register, sets forth several designations:

	Small (no more than)	Medium (between)	Large (more than)
Cells: Primary Secondary	1g Li. 1.5g ELC*	1g and 5g Li. 1.5g and 5g ELC.	5g Li. 5g ELC.
Batteries: Primary Secondary	2g Li. 8g ELC	2g and 25g Li. 8g and 25g ELC.	&25g Li. 25g ELC.

ELC = Equivilent Lithium Content.

"For purposes of this rulemaking, we use the term ‘‘primary lithium battery’’ to refer to a non-rechargeable battery and the term ‘‘secondary lithium battery’’ to refer to a rechargeable battery."

This is a very important designator, because there are different allowances (as outlined below) for these two types.

"In weighing the costs and benefits of regulation, we consider the mode of transportation and impose the strictest standards in air transportation, particularly passenger service."

Note, they say "passenger service". More on this later.

Almost all of the incidents that occurred, and that the NTSB investigated (as outlined in the Register), were of major battery shipments, although there were a few carry-on issues they noted.

"Inevitably, further technological advances, new product development, and market shifts will drive continued change in risks and benefits. We are committed to addressing those changes in a manner that safeguards our transportation systems and the traveling public, while promoting positive technological advances and minimizing regulatory costs and burdens for
consumers and industry, including small businesses."

Thanks for thinking of us.

HM–224E Rulemaking. Based in part on the June 2004 FAA technical report...The IFR prohibits the ...transportation ...of primary lithium batteries and cells, and equipment containing or packed with large primary lithium batteries (i.e., batteries containing greater than 25 grams of lithium) as cargo aboard passenger-carrying aircraft. In addition, equipment packed with or containing small or medium-size primary lithium batteries (i.e., batteries containing 25 grams or less of lithium) must be transported in accordance with Special Provisions A101 or A102. Under these Special Provisions, a primary lithium battery or cell packed with or contained in equipment may not exceed a net
weight of 5 kg (11 pounds). Finally, the outside of each package that contains a primary lithium battery or cell
forbidden for transport aboard passenger carrying aircraft must be marked ‘‘PRIMARY LITHIUM BATTERIES—
FORBIDDEN FOR TRANSPORT ABOARD PASSENGER AIRCRAFT.’’

Are any of your batteries currently marked as such? Didn't think so.

"Unless contained in equipment, each package containing more than 24 lithium cells or 12 lithium batteries must also be: (1) Marked to indicate it contains lithium batteries and special procedures must be followed in the event that the package is damaged; (2) Accompanied by a document indicating the package contains lithium batteries and special procedures must be followed in the event that the package is damaged; (3) No more than 30 kilograms gross weight; and (4) Capable of withstanding a 1.2 meter drop test in any orientation without shifting of the contents that would allow short circuiting, and without release of package contents."

Note here, the new law is does not use the word "installed", it says "contained in equipment", which lends credence to the idea that a battery could be "contained" in chargers for batteries, like Nikon's, that use a cradle.

"As amended in the IFR, lithium batteries contained in equipment and spares of all types (primary and secondary) are authorized in carry-on or checked baggage."

This looks promising.

"...spare lithium batteries may only be carried in carry-on luggage and that they must be individually protected against short circuits. Unprotected batteries are susceptible to short circuits when exposed to items typically carried by passengers and crew members, such as car keys and coins. We recommend that passengers protect spare batteries by placing them in protective cases or individual zip-top bags or placing non-conductive tape across exposed terminals."

They define:

"Aggregate lithium content means the sum of the grams of lithium content or equivalent lithium content contained by the cells comprising a battery."

So, the aggregated amount is all of your batteries, combined together. Do the math with your batteries. The Register gives you the formula:

Equivalent lithium content means, for a lithium-ion cell, the product of the rated capacity, in ampere-hours, of a lithium-ion cell times 0.3, with the result expressed in grams. The equivalent lithium content of a battery equals the sum of the grams of equivalent lithium content contained in the component cells of the battery.

They go on to say:

" The provisions of paragraph (a)(1) {preclusion from flying on passenger aircraft} do not apply to packages that contain 5 kg (11 pounds) net weight or less of primary lithium batteries or cells that are contained in or packed with equipment and the package contains no more than the number of lithium batteries or cells necessary to power the piece of equipment; "

We fall under the new, Part 175-Carriage By Aircraft, as amended, regulation, which reads:

§175.10 Exceptions.
(a) ***
(17) Except as provided in §173.21 of this subchapter, consumer electronic and medical devices (watches, calculating machines, cameras, cellular phones, lap-top and notebook computers, camcorders, etc.) containing lithium cells or batteries and spare lithium batteries and cells for these devices, when carried by passengers or crew members for personal use. Each
spare battery must be individually protected so as to prevent short circuits (by placement in original retail packaging or by otherwise insulating terminals, e.g., by taping over exposed terminals or placing each battery in a separate plastic bag or protective pouch) and carried in carry-on baggage only. In addition, each installed or spare battery must not exceed the following: (i) For a lithium metal battery, a lithium content of not more than 2 grams per battery; or (ii) For a lithium-ion battery, an aggregate equivalent lithium content of not more than 8 grams per battery, except that up to two batteries with an
aggregate equivalent lithium content of more than 8 grams but not more than 25 grams may be carried.

So, here's my carry-on equipment:
Both my Canon and Nikon batteries are marked: Canon-2300mAh, Nikon-2500mAh. Since all batteries we use are listed in mAh, or milliamp hours, using the higher 2500mAh, that translates to 2.5 Ah. Thus:

2.5Ah x 0.3 = .75g.

So, when installed in a device, your camera's battery counts for .75g of your allotment.

My Apple 17" laptop is powered by a 5400mAh battery (although nowhere on the battery does it actually list the mAh). Thus:

5.4Ah x 3 = 1.62g.

So, when installed in my laptop, my battery counts for 1.62g of my allotment.

Small lithium cells and batteries.
Lithium cells or batteries, including cells or batteries packed with or contained in equipment, are not subject to any other requirements of this subchapter if they meet all of the following:

b. For a lithium metal or lithium alloy cell, the lithium content is not more than 1.0 g. For a lithium-ion cell, the equivalent lithium content is not more than 1.5 g;

c. For a lithium metal or lithium alloy battery, the aggregate lithium content is not more than 2.0 g. For a lithium-ion battery, the aggregate equivalent lithium content is not more than 8 g;

Thus, since I travel with two laptop Lithium-ion batteries (not cells), each of them falling below the aggregate equivilent, they are ok.

Solutions:

1) One solution that has been bantied about is "install" the batteries in your charger! Well, my read of the EOS 1Ds Mark III and the Nikon D3 manuals all refer to "placing" the batteries in the charger, not "installing" them, so, I think this is going to be a tenuous argument to the TSA lackey at the security checkpoint. Further, it doesn't change the aggregated maximum Li-ion capacity you can take - installed or spare. However, the actual law says "contained in", which means it should be fine.

2) Label your batteries with something like a brother p-touch. We do that with our contact information and battery # (i.e. Battery 01, Battery 02, Battery 03, and so forth). Label it: "Li-ion content: 0.75g". Under 2g requirement.

3) Ship your batteries. This entire issue is about passenger aircraft.

When transported aboard cargo-only aircraft, packages containing primary lithium batteries and cells transported in accordance with Special Provision A45 of the ICAO Technical Instructions must be marked ‘‘PRIMARY LITHIUM BATTERIES—FORBIDDEN FOR TRANSPORT ABOARD PASSENGER AIRCRAFT’’ or ‘‘LITHIUM METAL BATTERIES—FORBIDDEN
FOR TRANSPORT ABOARD PASSENGER AIRCRAFT.’’ This marking is not required on packages that contain 5 kg (11 pounds) net weight or less of primary lithium batteries or cells that are contained in or packed with equipment. "

Battery weights:

• the Canon LP-E4, for the EOS Mark III line of cameras, and the Nikon EN-EL4a batteries both weigh in at .4 lbs. You could ship, in one package, over twenty of them, and be just fine.

CONCLUSION:

We fall under the new, Part 175-Carriage By Aircraft, as amended, regulation, which reads (I am putting this in this post twice, so you are sure to read it, if you skipped to the bottom):

§175.10 Exceptions.
(a) ***
(17) Except as provided in §173.21 of this subchapter, consumer electronic and medical devices (watches, calculating machines, cameras, cellular phones, lap-top and notebook computers, camcorders, etc.) containing lithium cells or batteries and spare lithium batteries and cells for these devices, when carried by passengers or crew members for personal use. Each
spare battery must be individually protected so as to prevent short circuits (by placement in original retail packaging or by otherwise insulating terminals, e.g., by taping over exposed terminals or placing each battery in a separate plastic bag or protective pouch) and carried in carry-on baggage only. In addition, each installed or spare battery must not exceed the following: (i) For a lithium metal battery, a lithium content of not more than 2 grams per battery; or (ii) For a lithium-ion battery, an aggregate equivalent lithium content of not more than 8 grams per battery, except that up to two batteries with an
aggregate equivalent lithium content of more than 8 grams but not more than 25 grams may be carried.

So I can travel with a battery installed in Camera #1 (0.75g), two extra batteries for that camera (2x 0.75g), and in Camera #2 (0.75g), two extra batteries for that camera (2x 0.75g); Laptop battery (1.62g), an extra laptop battery (1.62), for a sub-total of 4.5g Li-ion for the cameras, a laptop sub-total of 3.24, or a grand total of 7.74g. Well below my limits.

Thus, I expect that the effect on us will be minimal, especially when we put batteries in individual zip-locks, keep them in manufacturer packaging (like AA's) until use, leave them in equipment, and place tape over contacts, we should all be fine.

Note: If someone wants to provide a re-interpretation of the laws, and post it in comments, or send it to me via e-mail, I am happy to look over another interpretation, and amend/update my post, as applicable.

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Don't Be Like Mark Focus!

Thanks to my colleague Stanley Rowin over at Pro Photo Business Blog for revealing this YouTube piece, of a photographer spiraling down from a high dollar figure to free during this 60 second example of self-flagellation, and further evidence of the negotiation axiom "whoever speaks first loses" after price is discussed:

(Continued after the Jump)

Interestingly, the character playing the photographer, humorously named Mark Focus (that's got to somehow be funny to all the people with Canon Mark III cameras having focus problems) is actor Eric Krupnik, who is also listed as a production assistant for this 1969 movie titled Putney Swope. Was Krupnik living the mentality of his character as well? Krupnik has done little since in the film industry, whereas Putney Swope (played by Arnold Jackson) went on to a well rounded career as an actor!

The plotline and one comment about the movie from IMDb:

ark satire in which the token black man on the executive board of an advertising firm is accidentally put in charge. Renaming the business "Truth and Soul, Inc.", he replaces the tight regime of monied white ad men with his militant brothers. Soon afterwards, however, the power that comes with its position takes its toll on Putney...

This movie shows that the free enterprise system and the quest for the almighty buck transcends all racial and ethnic barriers. Ultimately the market place determines the message that is sent to the public....A conservative white-collar advertising company is taken over by a group of street-wise African Americans...who wants to make a buck and believes he can sell products by telling the the truth. But the movie shows that no matter how hard he tries to do something different, the market place and the political system demands that he conform, rendering him no different than his predecessors. Interesting, off-beat movie.

Gotta love the low-five that the "militant" bodyguard (played by Buddy Butler) gives Putney Swope at the end!

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A Time for New Beginnings

Yes yes, I know, everyone has New Year's resolutions. I'm not suggesting you do that, but you will anyway, and you'll likely not follow through on that weight loss plan, get rich scheme, or other bright idea that, at 11:45pm this evening, will seem like such a good idea three shots in, but will be just a blur of an idea the morning after. Instead, consider that, from a tax and bookkeeping standpoint, beginning to use accounting software like Quickbooks (at right, the TOP link is the PC version - 2008, and at BOTTOM is the Mac version, currently 2007, make sure you pick the right one!), MYOB, or invoicing/estimating software on January 1, 2008 is, in fact, the easiest and cleanest way to get your financial house in order.

It's not that you shouldn't have done it months ago, in fact, the day you started your business (or before) you should have, but it's high time you do so if you have been procrastinating.

(Continued after the Jump)

It's as simple as buying the software today, Monday, and it'll likely arrive by Friday. Over the weekend, you can learn a bit about it, and when your bank statement for December arrives a few days later, use as the closing balance for your December statement (which probably actually closed between the 31st and the 7th) your opening balance in the software.

As checks from jobs from December come in, just re-create your invoice in the software as they were however you did it previously, using the categories that apply, like "photographers assignment fees" become "professional services", and so forth.

After several months, the notion of going back to reconstitute several months' worth of transactions is daunting, so you have a wonderful window of opportunity to get your act straight in a real and meaningful way for the coming year. In addition, six months from now, you'll be able to, with a few clicks of a mouse generate reports that make you look like the real business that you are, and show you how your income is trending, and where your profit centers are. Sound foreign? If so, what are you waiting for, get on it!

Happy New Years!

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Write This Down and Post It Up Somewhere

Write this down, and post it near your phone, or print it as a label and put it on your cell phone where you can see it before you answer any incoming call:

THIS WILL NOT BE
MY LAST ASSIGNMENT.

When your taking a call, you absolutely must not think as if the call you are taking is the only one for tomorrow. this week, or even this month. You must believe truly that it's just one incoming request, or you will beat yourself down on price, rights demands, and, self-valuation.

(Continued after the Jump)

True power comes from the presence of alternatives.

If you have no alternatives, then you will be at a distinct disadvantage when being called for any assignment. To paraphrase a past president - the trouble with our creative colleagues is not that they are ignorant, but that they know so much that isn't so.

I hear so many people talk about things like "...if I mail a copy to myself, I am protected if someone steals my work...", or "...if I don't register my work, after 90 days it falls into the public domain...", or "...the photo editor tells me that I am the first person they've talked to who has a problem with work-for-hire...", and the list goes on and on.

There are so many falsehoods out there about the business of photography. That's why I wrote a book, proofed by some of the best in the industry, and endorsed by the heads of major trade organizations, titled "Best Business Practices for Photographers". I'm glad it's doing so well, not for any reason other than the messages and practices in it are getting into the hands of photographers, many for the first time.

I was watching a 60 Minutes interview with Joel Osteen and he was talking about why he doesn't appeal to his TV audience for money, saying "...we didn't want anything to distract people from watching, to turn off the message, cause we know how people are skeptical of TV ministers - "hey, there's a guy that just wants my money" - I didn't want any of that....", and what he said was a similar mindset I had, and which was why my belief was that the best thing to do was to donate the advance for the book to the ASMP, APA, and NPPA. Because I didn't want, at any time that I encouraged people to buy the book either here on the blog, or in my presentations to think "oh, he's just trying to sell books..." and be skeptical of the content of the book because that thought process is distracting from the important point about the message I was, and am, trying to deliver. Yes, if you click through on the right to buy a book, Amazon gives me a dollar or so, but it doesn't cost you any more, and thus, that dollar comes from Amazon, who is indirectly supporting this blog's mission.

Because the falsehood continue, so too, this blog. We turn one year old next week, and I have countless ideas for the future, and, we've reached nearly a million page-views in that time, and over 148,000 "absolute unique visitors" as well. I honestly had no idea that that would be the case. We will be launching a third blog then, which I think you'll be excited about, because it's interactive in much more of a manner than this one.

Unlike Osteen, who does concede (fairly so) about the fact that he does accept money from attendees and those that send money, saying "well, we need people to support us, or we can't stay on. But we don't get on there and ask for it. And it's amazing how people can see, when you're genuine, they send money.", my bills are paid by the assignments I do, and rights I license, from editorial to corporate, and so on. Osteen has some solid, life-affirming messages, and is changing peoples lives, and if you're not familiar with him, one of his mantras is "why don't you get your hopes up, why don't you start believing that, no matter what you have, or haven't done, that your best days are still out in front of you." Amen pastor.

When what you're reading here, and asking about, is helpful, that's great. That's the purpose. And, many many of you have written, with inquiries, suggestions for topics, and otherwise expressions of appreciation. Thank you for letting me know I am being of some assistance.

Keep those cards and letters coming.

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Merry Christmas

After days and days in shopping malls photographing "holiday displays" (come on, just call a spade a spade, they're Christmas displays!) for commercial clients who's entire business is all about decorating the malls around the country, my one wish would be that these malls install auto-power-off switches so that when I am working from 11pm until 6am in an empty mall, that I don't hear the same songs on rotation for days on end. But, alas, when I return home, and it's all about my daughters who are so excited to see Santa, listening to those songs takes on a different - more personal - meaning, and they somehow are not a bother anymore.

My wife asks what I want for Christmas, and I want for nothing. I am healthy, have a job I love, and a wonderful wife and two beautiful children. What more could I ask for?

• Peace on Earth?
• Good Will Towards Man?
• Rights Respecting Clients?
• Colleagues Who Value Their Own Talents and Rights As Much As Their Clients (secretly) Do?
• A Photographer's Union?

Come on, let's be realistic, and just enjoy the holiday!

(Comments, if any, after the Jump)

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It's Not Your Copy Right, it's Mine

My fellow blogger over at the Pro Photo Business blog brought to my attention this, in his entry - The Generational Divide in Copyright Morality, where he, in turn, refers to an article by David Pogue, of the same title, which can be found here.

This isn't a new mentality, heck, it's been pervasive for several years, most notably because the RIAA sued places like Napster, and the local soccer mom because they were infringing copyrights. The RIAA's position was "poor poor musicians, they're loosing money...", yet, if you know much about the record deals for the poor (read: up-and-coming) musicians, you know that the standard deal they get is that the record label owns the copyright to the first two albums, and further, that the artist pays a portion of whatever they earn back to the record label when they perform "their own" songs. (a common misconception, as they are not actually their own songs.)

Chase Jarvis, on more than one occasion has noted that the world of copyright is changing, and he's right. To wit:

(Continued after the Jump)

"I've said it publicly plenty of times: the face of copyright is changing, and as as visual artists, we should be well aware of how it could effect us. Blindly sticking a stake in the ground for copyright is like re-arranging the deck chairs on the Titanic."

The Pogue article noted that out of 500 people in attendance at his talk, only two thought that downloading music and movies for free off the internet "might be wrong."

Until the laws change, however, while more and more people are going to be infringing on your work, (note: there are two types of creatives in this world - those that have had their creative works infringed, and those that will) there will be more and more opportunities for you to reap the punitive benefits from these thieves. Yes, that means registering your work, and yes, that means pursing them with an attorney. Don't get me wrong, I'm not happy about this, because I'd rather be making pictures. But the fact remains, that when people steal your creative endeavors, you should be vigilant about going after them.

On the other hand, perhaps if you do produce work, and are paid for it, and wish to distribute it after the fact to others for their own private use, then denoting the work - at the least - with a Creative Commons designator stating what you do - and do not - want done with your work, will be one way in which you can share your endeavors, but ensure that it's not used by corporate America without their paying, yet still being available to the every man.

They write:

Creative Commons defines the spectrum of possibilities between full copyright — all rights reserved — and the public domain — no rights reserved. Our licenses help you keep your copyright while inviting certain uses of your work — a “some rights reserved” copyright.

They go on to say:

Too often the debate over creative control tends to the extremes. At one pole is a vision of total control — a world in which every last use of a work is regulated and in which “all rights reserved” (and then some) is the norm. At the other end is a vision of anarchy — a world in which creators enjoy a wide range of freedom but are left vulnerable to exploitation. Balance, compromise, and moderation — once the driving forces of a copyright system that valued innovation and protection equally — have become endangered species.

As it stands, the law is, as above "... a world in which every last use of a work is regulated and in which “all rights reserved” (and then some) is the norm...", and I like that that is the default. Yet, I know of people who don't want to do this, and Creative Commons is their way to designate that.

So, pick your level of comfort, and be sure to designate that as such. Just because "the kids" think it's ok to steal your work, doesn't make it so. When the laws of copyright meet up with the patent laws that only protect pharmaceuticals for about 20 years (more here on that), then it will be a new world order for copyright, and people will, in order for creatives to continue to survive, cost so much more on the front end to commission the work, because of the shortened life-span of copyright. That may end up being an unintended consequence of a change in copyright. Who knows.

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The Business of Photography - The Proof is in the Pudding

One of my daily reads is Mr. Unknown over at A Photo Editor. I am just making a leap in assuming it's a he, so, go with me on this.

I've been seeing an interesting trend in his entries - many of them are tagged "photography business". Which is good. The latest is about the corporate greed that is driving downwards the availability of talent, by way of the photographers' ability to cover their costs of being in business. Earlier this week, I made an editorial portrait, and I do so again tomorrow, and it's a mix of what I do. I've been saying for some time, and often I feel as if I'm on a soap box without a line to step up when I step down, about how it's the bean counters to blame for what's happening, and how there will be a loss of talent because of it, and now, we're seeing evidence of that as APE is reporting on this greed.

(Continued after the Jump)

My friend and colleague Michael Stewart also recently started a blog - http://foto-tech.com/, and his latest article discusses something called HDR - or, High-Dynamic Range images. He's got an interesting example of a pool and home, and he shows you the images that were used to composite together to make what is otherwise a near impossible image to produce in a single shot. It used to be that it would take thousands of dollars in lighting equipment to make an image like that happen, but it can now be done with available light and a firm tripod, and little else.

These points illustrate that you shouldn't be basing what you do on price, or technical skills. Instead, it should be on vision, and customer service. Is there any difference, really, between this single white t-shirt at Nordstroms for $18, and this pack of 3 fruit-of-the-loom t-shirts at K-Mart for $9.49? Probably not much. But, the service - is it worth it? Nordstrom's has proven that the answer is yes, and photographers who choose to compete on points other than price or rights-give-aways have shown that it works in our field too.

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On Assignment: Catering The Photo Shoot

Today we were on a shoot that called for catering. No, it wasn't the client that called for it, they weren't actually on set this time, it was the reality of the circumstances. We had a three assistant crew, two makeup people, two subjects, and four handlers, oh, and me. I get hungry, and anyone who knows me, knows that a sandwich and a Diet Coke will make me much less grumpy. So too, clients and subjects.

But what food, and why should I cater it anyway?

(Continued after the Jump)

When you're called to shoot something, even if it doesn't span a mealtime, bringing along food is critical. It's true - An army marches on it's stomach. So too, do assistants, and the rest of those on site. In fact, I've known more than one client complain about working with other photographers who either were upset because catering wasn't on the estimate, or got to a shoot, and it wasn't there, already laid out.

When we arrived today, before the gear came in, before the cameras were in place, the second assistant was detailed to set up the catering. I didn't want anyone arriving on set and not seeing food and beverage. Above is the bill (click to see it larger) for catering, minus the drinks, which we brought in a separate cooler - water, vitamin water, and Diet Coke. On a humorous note, our subjects, half-way through the shoot said "hey, where's the tequila?", to which I responded, without loosing stride "I didn't see that on the rider..." and kept shooting. (they laughed).

But don't even think of catering it yourself, or using Subway or Quizno's. Places which make gourmet sandwiches, cookies, and so forth, are a good solution, we like Corner Bakery here in DC. Be sure to know if anyone who will be partaking has food allergies or restrictions. A wide variety of the riders in the link above outline all sorts of restrictions, from "no pork", to brands of water and so forth. If it's a huge shoot, you may be best served to call in a caterer that has servers, but I'm not going there with this.

When the subjects walked in, they reacted by saying "wow, look at this, I didn't expect this!" And then I introduced her to the makeup and hair stylists, while her handlers grabbed waters and cookies, and headed off to quieter parts of the set with their blackberries in hand, satiated.

During a wardrobe change, the subjects opted to grab a bite, which ensured that they weren't feeling the pangs of hunger that would become moodiness that would result in lesser expressions, and an eagerness to depart. No one felt a need to order in, and when we were done, there were three cookies and four sandwich halves left. There were no Diet Cokes left (my fault, I drank most of them), and a few vitamin waters. All in all, just right.

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In The Photo Business - It's All About The Usage

The frequent refrain from clients I hear when I ask (as a part of our conversation about my producing work that will run as an advertisement or for corporate/commercial uses) about what the photograph will be used for and to what extent is "...oh, we're not sure where we'll use it yet....", which is double-speak for "we want to get the lowest price from you, and if you really knew how much we'd be using your photographs you'd want to charge us more, so we're not going to tell you everything..."

That's not to say that there aren't clients who aren't straight with you up front - there are, but there are many who are not.

(Continued after the Jump)

But, it's worth backing up here for a minute, for those of you who don't get "usage". Simply put - if someone wants to use your photograph once (whether you create it specific to their needs, or as pre-existing stock), and it will be in a weekly newspaper serving your community, the benefit the client will receive (and the exposure of your image), will be "X". If the client wants to use it 10 times, then, for that client, the benefit (and thus, the exposure of your image) is 10x. When it then appears on billboards, or in the local daily paper, and on brochures, and so forth, the benefit multiplies again and again. As the client benefits from your work, you are entitled to an increased generation of revenue. It's only fair. Every time an ad agency or PR firm proposes an ad campaign to their client, they give a pitch, putting forth a detailed proposal about the metrics and benefits of the placement. How much it will cost, why certain viewers/readers/public locales/eyeballs are better than others, and how to produce the work.

Here's what one agency's proposal cover sheet actually* contained, as a part of an advertising pitch they made to their client:

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The following estimates are provided for the various components based upon the media plan options presented today for XXXX XXXXXXXXX. All pieces will be based upon the XYZABCD concept, and will be customized as necessary for the specific media that was selected.

Photography

Photography that is unique to NYC and it's environs, and reaches both the parents and children is an essential part of this campaign concept. We have looked into a stock photography solution, and were unable to find appropriate shots and highly recommend producing original photography, that can be used for print, collateral, outdoor and web in the New York region.

We recommend a full-day shoot, in one New York City location. This will allow time for shooting photography for both the "parents centric" and the "children centric" ads in the same day, which is the most cost-effective approach. The budget for this shoot, including all photographer's fees, location scout, permit fees, stylist, and photographers rights package is $12,000-$14,000.

The estimate for professional services to review and select an appropriate photographer, coordinate shoot logistics, recruit and retain appropriate talent, attend and art direct the photo shoot, and review and select final photography is $5,500 - $7,500.

Talent

Talent fees for two ads, including a full buyout for the distribution outlined are estimated at $4,500-$6,500, which may include up to four talent.

Professional Services

Print Ad

The estimate for production of two print ads ("parent centric" and "children centric"), including copyrighting, art direction, headline illustration, coordination and management of photo shoot, art production and overall project management is $18,000 - $21,000.

Online Banner Ad

The estimate for creative development of an animated banner ad campaign is $5,500 - $6,500. This estimate includes adapting the creative concept for web use, art direction, copyrighting, and execution of Flash banner ads with static .gif backups. This provides one banner for each "parents centric" and "children centric" execution.

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So, when you're contacted by a prospective client for a campaign, recognize that many things are already determined. They will often have already proposed a budget to the end client, however, more often than not, I have been called for a quote for an assignment and been told that what I provide will be for their pitch. Often, this is the case when you are the preferred photographer, that will likely win the assignment if the client wins it.

During the conversation, ask the person calling for the campaign's "media schedule" so you can determine proper usage. Ask for them to e-mail you the PDF, or fax it to you. As above, click here to see what it looked like for this pitch. If they say they don't have one yet, you can say that your estimate will be higher than it might otherwise be without it, and then ask what the usage will be - number of insertions, circulation, size, and so forth.

Your creative and usage/licensing fees will be either combined, or separate (see the points on this debate here), and once the client has outlined their usage, using photography business software like fotoQuote (details about them here), and be sure to use the PLUS language to outline the rights package (as detailed here).

By the time a client calls a photographer, more often than not, many of the details are worked out, the pitch and campaign approved in concept, and dollars allocated. Be sure to ask the right questions during your client dialog so everyone is working from the same page when you prepare your estimate. Ask for comps/layouts so you know what you're going to be expected to produce.

These things are true whether they're for a major campaign, or a one-time small-town paper campaign. They're true when they're for a brochure, an annual report, point-of-purchase poster, billboard, web page ad, and so forth.
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* note: To protect the source, slight changes have been made to the media schedule and estimate proposal, but the content, look, feel, layout, and all language except identifying names/campaigns, and actual dollars involved are as presented. These dollar figures are comparable to those presented.

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