All language subtitles for 19 Business - Pricing for Editorial Jobs.mp4

Throughout this tutorial.

I'm going to show you what it takes to
capture a compelling editorial photograph.

But it's also important that we focus
on the business side of photography.

But before you can calculate and price
your work, we need to first look at the different

types and genres of photography.

And it all starts with.

First commercial photography.

We're going to get into editorial
photography, newspaper photography, and

then finally, portrait photography.

Commercial photography breaks down into
several tiers of fees,

which we're going to go over.

Then editorial photography is usually
based on an assignment feat or a flat rate.

Then you have newspaper, which is going
to be a salary based career.

And then finally, the portrait genre of
photography is based on flat rates.

And in print print sales.

Within these four genres, I typically
fall under commercial.

And editorial photography.

Commercial breaks down into a lot of
different items.

It can be very complicated, while
editorial is based on assignment.

Fee it's a much more simple version of
the commercial pricing structure.

So first let's focus on editorial.

In the editorial space, I'm often
approached by a potential client with a

set budget

and I have to work within that set
budget, but usually there's some wiggle

room that you can negotiate will get
into that later.

While the budget may vary, it might be
500 dollars and maybe 1500 dollars,

all that money is going to go to you.

And you're responsible usually for your
travel, your expenses, your studio

rental.

All that is included within that flat
rate.

With editorial photography, there's
always a little bit of wriggle room

that you can push this budget further
to pay for those additional expenses to

help you understand this process.

We're going to show a few editorial
examples here.

The first one is for ink magazine.

I was approached by eke magazine, based
in New York, to photograph Paul sanders

of e luxury supply, which is an e
commerce company based in Evansville,

Indiana.

They approached me with a budget of 400
dollars.

Now this image would only be going on
their website and blogs, so I knew it

would be on the low end of the pricing
structure,

but I still know that there's some
negotiation room there.

So I pitched them 600 dollars,

and they came back with the ok.

On the 600 dollars I traveled to
Evansville, Indiana.

We photograph Paul sanders in about ten
minutes,

drove back, edited a photo, delivered
it to ink magazine, and it was up on

their website within a week.

Normally, I would never shoot a job for
this low number, 600 dollars,

especially when I'm driving for two
hours from Louisville to Evansville.

But in this case, because it was ink
magazine and it was a recognizable

face, I took the job and it added a bit
more legitimacy to my portfolio.

And then you never know, I might work
for ink magazine, shoot a cover, or

shoot for the actual publication in the
future, because I have built that

relationship.

A lot of photographers going into a
project with a low budget such as this,

might not put everything they've got
into the shot.

But with me, I don't have that
attitude.

I go into every chute thinking, hey,
this is a 600 dollar budget, or this is

a 1600 dollar budget.

No matter what.

I go into the project

wanting to pull off the best image I
possibly can, especially if it's for a

legitimate publication like ink
magazine.

With that said, I could have drove to
Evansville, no assistant.

Take a simple, natural light shot and
called it a day.

But that's not my style, that's not
what I do, and that's not what this

magazine is paid me for.

So I still paid for an assistant, and I
still crafted an image with all the

gear that I would normally use.

Now, while it is important for me to do
a great job for ink magazine,

I didn't want to lose money on the job,
so I still kept it to one assistant and

a simple lighting package.

I didn't go overboard with food hotels,
running a truck or hiring a style team.

At the end of the day, ink magazine was
happy.

Paul was happy, and I was happy with
the image.

And I have no regrets taking on this
job for the 600 dollars.

Never going to move on to an image that
pays a little bit more.

This is Chris sternburg.

And we photographed Chris for corporate
council magazine.

Chris is the defense lawyer in general
council for brands such as papa john's

and suntan city.

And we photographed him in a suntan
city location for a story that was on

suntan city itself.

While this image would be published in
corporate council, there might not be a

lot of eyes on it, but it's a trade
publication, which means the budgets

are going to be a lot bigger than, say,
your ink magazine, which is for Webb

only.

So just like ink magazine, corporate
council approached me with a flat

budget.

They had a budget of 1200 dollars to go
in photograph Chris provide a variety

of portraits that would be used to
follow this copy in this editorial

story.

I came back with 1600 dollars.

And then we met in the middle at 1400
dollars to capture three final

photographs for Chris on location at
suntan city.

And you'll notice that I rarely accept
the offer that they give me right out

of the gate.

Now, occasionally this will backfire,
and they might say, hey, we found

another photographer.

Talk to you soon.

But normally they'll come to me with a
higher number than what they provided

in the original offer.

And then we just meet in the middle for
this particular job.

It was a lot more convenient because it
was on location in Louisville.

So I knew it wouldn't take long, and I
knew there wouldn't be many expenses,

unlike the last shot.

We had to create an additional two
images, which would take a longer

amount of time.

But at the end of the day, it still
didn't take that long.

We shot for thirty minutes, and then we
were in and out.

The next image I'm going to show you is
a fashion editorial image for Churchill

downs.

Churchill downs produces a by annual
publication, which goes to their

employees as well as some local
businesses.

They have a small circulation here.

Tershill downs came to us with the
fashion idea.

But this is obviously way more
complicated than the environmental

portraits we just spoke about with Paul
sanders and Chris Sternberg.

So we're going to need to create a team
which includes styling, hair, makeup,

creative direction, the full gamut, and
that's going to get very expensive.

Churchill downs came to me with this
idea.

I knew that we needed a creative
director, so I referred them to gunner

death ridge to take care of the
details, which included the hair, the

makeup and the styling.

So while Gunnar was getting paid for
all of that creative direction, I was

slowly getting paid for photography and
retouching and delivery.

Unlike the last two projects, Churchill
downs asked me for a quote.

So I had to build this quote based upon
my needs and my expenses.

I knew that it would be ten images and
two days.

So we landed on 2500 dollars for the
entire project.

Now gunner was responsible for styling,
creative direction, hair and make up,

and I was responsible for photography
and their retouch.

That 2500 dollars went towards the
retouch, as well as assistance and

production.

For this project, we spent time
location scouting.

I consulted with Gunnar on the models,
the hair, the makeup and the styling.

And we knew that we needed ten images.

So we took two days to complete this
project.

The important facet of this editorial
was to tell a story.

And we were going to tell a story that
was a little bit more edgy.

It had a lot of mood to it, and it was
a little darker than what you normally

see in a commercialized

Derby editorial.

You might be thinking that with a
budget like this, an editorial with a

lot of pages, there's going to be more
assistance and more photography

production.

But that's just not the case.

Just like the last images, the
production says the same, and the

assistant says the same but the pre
production and the consultation is a

lot more extreme, as well as the post
processing.

The pre production on this took a lot
of time.

We spent days out at Churchill downs
scouting each individual location for

each individual shoot.

Not only was the pre production a lot
more work than your normal standard

editorial environmental portrait, but
the post production was significantly

more work because we had ten images.

A job like this will require weeks of
not only calling, but also retouching,

color grading and then finally,
delivery.

We are all really happy with the
outcome of this editorial.

And from a photography standpoint,

all these techniques that you see here
are the same techniques that I've shown

you in this tutorial.

But for this editorial, I had a charge
significantly more because it did take

so much time.

Now let me talk about a simplified
version of that editorial pricing

structure that I've worked out with
some local publications that

consistently need me.

Loville Kentucky, where I'm based is
still a small market.

And there are about four or five
publications that consistently need

good photography and good editorial
photography.

So because these magazines need
consistent editorial imagery, I've come

up with a ball park figure that both
I'm happy with and they're happy with.

And so we don't have to play this
negotiation game dozens of times a

year.

I've broken down these ball park
figures by an editorial day rate and

editorial half day rate.

One being a major production in a
fashion editorial, and the second being

a quick editorial portrait.

The editorial day ray consists of a
1200 creative fee, a 600 post

production fee, which breaks down to
around sixty per shot.

And then finally, if needed, a studio
rental of around 400 dollars.

But if they don't need me for a full
day and they just need a quick

editorial environmental portrait, then
that would consist of a 600 dollar

creative fee, 150

post production fee, and then finally,
if applicable, a 250

studio rental.

So for this rate, it could be anywhere
from twenty minutes to two hours.

By coming up with these two different
tiers of pricing a day rate and a half

day rate, I made it super simple for my
local clients to book me consistently,

over and over without the need of any
negotiation.

So now you can see that my editorial
pricing structure varies from one end

to the other, but it's important to
first know your market.

I'm in a small market, so I've built
these Numbers, and I've spent a

significant amount of time working with
clients and building partnerships to

establish these Numbers.

While some of these Numbers might work
in my market, they might not work in

your market.

You might be in a smaller market, or
you might be in a bigger market.

You just have to know your market and
know you're worth.

The most important thing that I want
you to take away from this lesson is

that every photographer has to go
through the process of figuring out

their market's prices.

It's been a long process, and it's
taken me a long time to figure out the

rates that I've established in my
market.

But I hope this lesson has inspired you
and given you a jump start to figure

out the rates in your market,