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Categories: Tattoo Pic | Author: admin 29.09.2014

2) Included in the fee, they get exclusive first use of the pictures and non-exclusive reuse “in context” for editorial or promotion use.
3) They can use the photos for article reprints and for “out of context” use for a predetermined fee (see schedule A).
4) In the past, a three month embargo period would be considered a little excessive for a monthly publication, but it’s not unusual these days. If you have any questions, or if you need help estimating or producing a project, please give Wonderful Machine a call at (610) 260-0200. Licensing: Though the photographer would be creating and licensing 12 images, they would only appear in 4 finished ads. Background, Plexi: This covered the purchase and delivery of white seamless paper and plexiglass for the background. Capture fee: This covered the time and equipment necessary for the photographer to do an initial process, edit, organize and back-up of the files and present them to the client. Retouching: Since we were dealing with stripping, retouching and compositing, the photographer and I estimated 3 hours per final image. Results: The photographer was awarded the job and Wonderful Machine handled the production. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. I was contacted recently by an East Coast photographer to help quote on a project for a well-known clothing retailer.
A few days later, the photographer and I dialed into a creative call with the agency to learn more about the project. We talked about the possibility of shooting variations where the clothes were stacked or organized more abstractly rather than the paper-doll way shown in the comp.
The licensing needed to include use of 23 images in the fall catalog and on the company’s website for a period of 3 months.
The agency wanted us to deliver the raw files from the shoot – organized, renamed and tweaked. We would plan on a pre-light day so that we could hit the ground running on the first shoot day. Our wardrobe stylist would need to attend a “fit-day” to review the clothing with the client and agency.
The client would provide all of the clothing and accessories but we might need to provide some minor props. In the mean time, we got another call from the agency explaining that they would like us to quote on broader licensing.
Blinkbid: For catalog, web use and print advertising Blinkbid quoted $11,550-$16,500 per image per year or (arguably) $2,887-$4,125 for 3 months. FotoQuote: Their advertising and marketing pack for 3 months suggested a range of 13,728 and 27,456 for one image. Given such a short licensing duration (3 months), I think it’s unlikely that the agency is going to make ads out of all 12 of those photos. We included the rates for an assistant and a digital tech for both shoot days as well as the pre-light day, and included a second assistant for just the shoot days.
The stylist was just as important to the agency as the photographer, so we included rates for a seasoned soft goods stylist who would also be shopping for the supplemental props. While the props were originally supposed to be minimal, the agency ended up sending over a few sample images of nice travel accessories and other items that they wanted to have on hand.
We would need the studio for the two shoot days, a pre-light day, and the additional wardrobe stylist prep day. I tend to include a nominal amount of crew overtime charges as a matter of course to avoid any surprises later.
We also included a post-production day for the photographer to organize and do final tweaks, then deliver the raw files on a hard drive.
I always put “plus applicable sales tax.” That covers me in all cases and it doesn’t unnecessarily inflate my bottom line when we do have to charge it. If you have any questions, or if you need help estimating or producing one of your projects, contact Wonderful Machine.
One of our photographers recently contacted me to help him quote on some advertising photographs for a prominent international corportion. Here is what we knew: The project would involve 2 days of photographing a celebrity spokesperson interacting with various props and products in a West Coast studio.
I wanted to start by determining the photographer’s fees, so my first question for the art buyer was about the usage and number of images. Even though the client intended to use up to 10 images in the campaign, they asked that the quote include licensing for all of the images created rather than just a limited number of selects.
Armed with this information along with past estimating experiences, I decided to price the 10 images at $110,000 for this use.
Insurance and miscellaneous accounts for various items that may come up during the production and helps the photographer pay for his standard liability insurance.
We made sure to indicate what production elements the agency had committed to manage and pay for directly. Lastly we highlighted that an advance equal to 50% of the bottom line would be required to initiate production. So I had to figure out how cutting the licensing duration from 1 year to 6 months would affect the fee. The additional production coordination warranted bringing on a production coordinator so we added one to the estimate. A few days later, an email popped up in my inbox with the subject line reading “Congratulations.” I was delighted to hear that they awarded the project to our photographer! Public Service Announcements (PSAs) are advertisements intended to raise awareness of a topic and to change public attitudes (rather than sell a product), often advocating better health practices or safety. Recently, one of our photographers was asked to submit a cost estimate to produce some photographs for a PSA. The client was a large non-profit organization whose primary interest was in public education and health policy. The PSA concept featured a close-up portrait of a woman in a light filled, airy environment. The talent would be a real patient who had realized the benefits of the non-profit through improvements in health care practices. The use was described as a PSA that will be distributed on the non-profit’s website, possibly in print publications and in the form of posters hung in airports and train stations. WM: The comp hints at more environment than a studio sweep, would a white daylight studio work as a background?
WM: We think this can be accomplished at a studio in a few hours, are you expecting to shoot for more than about half a day? Although the PSA would be displayed like a typical commercial ad, it’s purpose was not to generate revenue, but rather to promote public awareness. Since the lighting would consist entirely of natural light, the photographer only needed one assistant on set during the shoot. Since we were only shooting one subject from the shoulders up, we were comfortable working with a stylist capable of light wardrobe styling and hair & make-up. Since the crew and agency would be setting up for the shoot around lunchtime we included catering for the crew, talent, agency and client. Indexing is what that photographer likes to call it, but we normally call it Digital Capture and Delivery by Web Gallery for Editing.
Miles, parking, shipping, insurance and miscellaneous was pretty low since the shoot would take place at the photographer’s own studio. Lastly, we made sure to clarify that the talent would be provided by the client or agency and that a 50% advance is required to initiate production.
WM: Right off the bat, one thing we might be able to do without is the additional wardrobe. WM: Are you comfortable reviewing images straight of the camera or do you need a separate display? After contemplating the peculiar budget, we dialed down the use from 3 years to 30 months, reducing the fee and bottom line by an additional 500.00.
We submitted the revision, the creative director quickly approved it and the shoot went off without a hitch. One of our Midwestern photographers recently asked me to prepare a cost estimate for one of his custom publication clients. Custom pubs look very similar to regular magazines, but they’re commissioned by a single sponsor and they’re designed to reach a targeted audience of customers, users, members or employees. Custom publication estimates can be structured in the same way as a regular magazine contract but the rates tend to vary more widely. Will we need to handle any wardrobe, propping or styling of any kind? Subject will arrive camera ready. Will anyone from the Agency or Client be present at the shoot? Just one art director from the agency. Are any of them local to the shoot or would all of them have to travel? All three would have to travel. Do you have a budget in mind? Nothing set in stone, but generally we don’t spend more than about 10-12k per assignment.
A reader sent me this story, so that it might instill confidence in young photographers like herself. I worked with one of the local college’s ex-students on a shoot for a magazine editorial about a year ago. I went online and researched some suggestions of how I could handle this, but I couldn’t find much available.
So I spoke with the college directly and they asked me to come in to discuss this and negotiate a pay-out. So I went with my gut instinct, and ended up charging them a figure that I thought was fair. After a google search, it seems like this problem occurs often and perhaps many photographers don’t understand the value of usage.
A well-known publisher recently commissioned one of our New York photographers to shoot the exterior of a building for the cover of a non-fiction book. It’s somewhat unusual for a client to pay for a shoot and not get any reproduction rights to the photos (or at least the option to use the photos at a predetermined price). As it turned out, the publisher loved the pictures and wanted to license one for the front cover of the book, with an initial printing of 500,000 copies.
Rights Granted – In consideration of the payment of fees as outlined below, you grant Publisher and its affiliates, exclusive rights to use and reproduce the Artwork, in whole or in part, on the cover of all print and digital world English editions and formats of the Work or derived from the Work, throughout the world, now known or hereafter devised, and for such other uses as set forth below, and for use in advertising, publicity or otherwise in connection with the Work for the life of the Work as set forth below (“Book Use”), and such other formats and uses as outlined below. In simple terms, they wanted use of the picture in English language editions of the book, in any format, world-wide. The fact that they’re printing 500,000 copies on the first go-around gives us a good sense of the value.
After reviewing the changes with the photographer and initialing the amendments, we sent the contract to the publisher. One little detail I’m still not sure about are the ramifications of the publisher owning the copyright to the book cover (which of course contains the photographer’s photograph). Recently, photo editor Bronwen Latimer hired me to do an environmental portrait of a guy named Bob Dunn, who each year flies from his home in Delaware to play Santa Claus at a mall in Oklahoma. I’ve found that a small percentage of magazines I’ve worked with over the years have no contract at all.


Invoice comments: I always refer to the date of the contract on the invoice so it’s clear which contract applies to that job. Release comments: I’m not sure what the “good and valuable consideration” would be in an editorial situation like this, but I don’t normally pay subjects for magazine shoots unless they’re hired as professional models. Interview: When I cornered Bronwen for an interview, she deferred to MaryAnne Golon who was kind enough to answer a few of my questions.
How much does the Day Rate vary from photographer to photographer or from project to project? There is little variation of the day rate unless rights beyond editorial are negotiated up front.  The magazine day rate is $800 per day and the Bulletin and website pay $600 per day. Do you have any thoughts about how editorial photographers are going to have to adapt generally, to the changing marketplace? Freelance editorial photographers will need to develop multiple client bases if they have not already done so. If you have any questions, or if you need help estimating or producing one of your projects, contact Wonderful Machine. RIP: Emmy Rossum lead outpouring of grief on Twitter following apparent suicide of celeb make-up artist Jake Bailey'I am gutted to hear of my friend Jake's passing.
Tragic end: The 37-year-old, pictured with Nicole Ricci, A suffered from carbon monoxide poisoninga€?Jake was a mentor to many, and his work will continue to inspire. I have been a freelance makeup artist for many years and I have much experience in all aspects of the beauty industry from working on many films, music videos, web series and photoshoots, as well as live shows and events. I asked her if she paid for space and she said no, but if she used a picture on the cover, she would pay an additional 500.00.
The prices for the article reprints are a little on the low side in my experience, but not unreasonable. Here’s how Maggie explained it, “Paragraph 5 of the contract says that, ‘Each party consents to the personal jurisdiction of the federal or state courts located in the State of New York.’ What does that mean?
They’re available to help with any and all pricing and negotiating needs—from small stock sales to large scale ad campaigns. I normally budget at least one day of prep for a typical studio shoot, it’s a good to have a producer on set to make sure things run smoothly, and often will want to include a day to manage wrap, invoicing and crew payments. Although the photographer has his own studio, we needed a larger, more polished space to accommodate this project.
We estimated 1200.00 plus 20% agency fee per day (the stylist we worked with was repped), a stylist assistant to help with purchases and prep, and a food budget to cover the cost of the necessary ingredients. We’re available to help with any and all pricing and negotiating needs—from small stock sales to large scale ad campaigns.
The retailer’s mid-sized ad agency had approached the photographer and shared layouts for a catalog promoting the following season’s clothing line. As with all creative calls, this was a great opportunity for the photographer to show his enthusiasm for the assignment, share creative ideas and convey confidence to the agency. The stylist would also need a prep day to make any necessary alterations prior to the shoot. For a typical national catalog shoot, we normally quote $4,000-$6,000 a day for the creative fee including licensing.
In addition to the catalog use, they needed 3 months of paid advertising use and print collateral use. So considering all that (not to mention the budget suggested by the client), I decided to price the first two images at 5,500 each and the remaining 10 at 2,000 each, which brought us to a total photography fee of $31,000. The photographer had a producer that he worked with regularly, and at his suggestion, we budgeted 7 days to account for his time to hire the crew, attend the shoot and manage all the post-shoot paperwork.
The quote we received from the stylist broke out separate fees for their shoot days and prep days, and we included them as separate lines in the estimate. It’s customary on motion picture projects and increasingly on bigger still projects to add 1-2% to cover the cost of equipment insurance, liability insurance and workers’ compensation insurance. I always spell out items that the client is going to provide (I forgot to mention that the client was going to do the retouching).
He had recently completed a self-assigned fashion shoot, and a promotional mailer from that project caught the attention of the client’s ad agency. The agency was hoping to cover 5 situations per day, including very specific but subtle variations within each situation.
All we needed to account for was the photography fees, photo crew, equipment, studio and catering. She replied that they needed licensing for all images captured, though they only wanted 10 selects retouched and delivered. Naturally, licensing for more pictures is going to be worth more than licensing for fewer pictures. The agency wasn’t looking for any extraordinary retouching or compositing on set, so a basic digital tech was sufficient. While they were still deciding on creative direction, she let us know that their budget for set construction for the background on the second day was $10,000.
In spite of our hand-wringing over the 1 year quote, in the end the client opted for the 6 month licensing for $88k. The typical patron of a PSA is a government agency or non-profit aimed at improving public welfare. Though the concept was simple and straight forward, the details were still a bit vague when the photographer contacted me for pricing help. About half the frame was negative space for copy, and there was a “gritty” treatment layer overlaying the image. The digital tech would provide an extra set of hands to help load in, set up and break down.
Let me check in with the photographer to figure out a way to come shave off another 600.00. Custom publications can be produced in-house, by custom content firms or by traditional ad agencies and design firms.
If the publication is focused on a commercial brand or product, you can expect to charge more than your typical magazine rate.
Though they aren’t a custom pub specialist, they are definitely experienced with custom pubs and their client is a Fortune 500 company. We looked at what it would cost to rent the gear locally, then backed out the baggage charges. Airfares can change a lot between when you send out the estimate and when it gets approved.
The ex-student lied about having my permission and gave the image to the college, which then used the image on a billboard advertisement that wraps around a 20 story building on a very busy road in the city.
Crawling through some forums, I found that a few photographers had their images stolen and placed on a billboard, and they charged $500 for the use. They were helpful at first, although once they started talking to the college they decided to back off. I found the best advice to be 10 – 30% of the marketing budget (from small to large scale). I wrote them a letter a week later, explaining my situation, the inconvenience this has caused me, my humiliation to those involved, and that I thought after all this the figure was fair.
The publisher initially agreed with the photographer on a price just to execute the shoot with the understanding that if they decided to use one of the images, they would then negotiate a separate licensing fee. You will retain copyright in the Artwork itself and all other rights to the Artwork, except that you will not license or sell any rights in the Artwork (including any other photographs from the same photo shoot or artwork substantially similar to the Artwork) for any Book Use. But since they’re asking for the right to use the picture on all future printings and editions makes it hard to know what it’s ultimately going to be worth. BlinkBid’s pricing consultant doesn’t seem to cover book publishing and Corbis and Getty require you to contact a sales rep to get pricing. That might seem like a lot of money to some people, but considering that an author’s advance for a big non-fiction book can be $500k, $8500 is reasonable and proportional.
I have a full-time assistant, but I find most magazine accounting departments want to see an assistant invoice anyway, so I just create one. The release says that the model “understand(s) that AARP owns the copyright to the photos.” Not sure why it would matter why the subject would need to understand that. Does the magazine pay space over the day rate when they use a lot of pictures from an assignment or large pictures?
The rates are comparable or above industry standards and include non-exclusive online and one-time print rights for the publications. The editorial market is shrinking in the journalism realm, but growing in other areas including lifestyle, fashion, and portraiture. The assistant was really shaken up.a€™The neighbor, who asked not to be named, said the windows of the SUV in which Bailey was found were fogged up and condensation gathered on the windshield.
I have also been personally trained by renowned celebrity makeup artists ; Donald Simrock and James Ryder.
I don’t mind this because it’s rare that this would happen, and the fact that it’s in context generally means that it’s more about the article or the publication than the photo.
Additionally, I’ve found that if an opportunity arises to re-license an image to a third party during an embargo period, you just have to clear it with the assigning photo editor. I finally found a spot in a parking garage that framed them nicely and offered up a good view of the city.
However, the agency and photographer agreed that it would be better to shoot each element separately to provide flexibility in composition, perspective and size in the post production process.
Although the photographer is no stranger to this type of shoot, setting everything up and dialing in the lighting beforehand will save you precious time on the first shoot day. The catalog would feature a combination of fashion portraits and still life pictures on seamless backgrounds. During the conversation, we learned that the catalog was part of a much larger rebranding effort for their client that would help the brand reach a younger demographic.
Catalog use is certainly advertising use (which might otherwise command a higher fee), but unlike other advertising that might show up in magazines or on billboards, catalog use is normally limited to the actual printed piece.  And because of the nature of fashion, the images tend to have very short life spans and tend to require a lot of shoot days (both factors providing some downward pressure on the day rate). A few hours after that, I received another email saying that they now were planning on a 2-day shoot with licensing for just 12 images and they’d like to make it happen for under $100k.
We included costs for seamless paper and foam core for the stylists to lay out the clothing on and pin it to if needed.
That might sound like a lot at first glance, but it would allow us to run 2 sets at a time so the stylists could be setting up one shot while we were shooting another.
Over the past few years, the ad agency had helped the client completely revamp their image, and in the process they had developed one of the most recognizable campaigns in recent years. These variations were intended to create a range of expressions and angles from which the agency and client would choose their final selects. But if we’re shooting 10 situations with subtle variations of each, it’s not going to be worth much more than those first 10. For this use, their suggested range for 1 image is between $16,090 and $32,181 for 1-year use.
Again, this is comparable to what we expect to see on projects of this scale with clients of this size and prominence. The photographer wasn’t shooting 10 different concepts, he was shooting 10 adaptations of the same concept.
She wouldn’t reveal names or exact numbers, but did share that the other photographers were not local, and they would be traveling from as far away as Europe.


Most ad campaigns are going to have maximum value early on and then diminishing value over time. So we included it in the estimate and noted that it will ultimately be based on final creative direction.
Also due to the studio change, we had to increase the studio fees and equipment rental fees. After carefully reviewing the estimate I found that the only thing I could really cut was the licensing fee. Additionally, the concept was straight forward, the talent would be provided and the shoot wouldn’t take more than 6 hours including set-up and break down, which is a consideration. Since he’d be using his own equipment he could bend a bit on the rates, particularly for the miscellaneous stands, reflectors, etc.
The assignment was to shoot an environmental portrait of a worker at a manufacturing facility in New York City that uses the client’s services, plus to provide documentary coverage of other aspects of the factory. The billboard was already up there for 1.5 months and it was supposed to be up there for 3 months total. I think they probably thought it wasn’t worth it (despite that I offered them the incentive of a commission). They were a little manipulative over the phone, suggesting that my photograph would potentially be featured there for 12 months and it would be great exposure for me if I didn’t charge too much. But in this case, the publisher wanted to get moving on the art, and they were comfortable that they could come to an agreement with the photographer once they saw the photos and once they knew how many copies they were going to print.
The photographer will retain the copyright to the photograph (including the right to negotiate separately with foreign language publishers of the book), but can’t license it to any other book project.
The projects I’d worked on previously were stock quotes for somewhat smaller projects, with print runs of 5000-10,000, and the negotiated fees generally landed around 1500.00. So that left us to decide what the value was, not knowing how many copies the book would sell.
Also, as useful as the pricing guides are, they don’t in themselves justify (for better or worse) the value of a photograph. I’m just not sure that they need the photographer’s permission in order to resister the copyright to the whole package or to defend an infringement.
I’m not sure how many photographers would think to put AARP on their list of dream clients, but I’ve always enjoyed working for them. Of the rest, about half have a contract that governs assignments into the indefinite future, while others, like AARP, send out a contract for each assignment. I can’t recall if it was the case here, but I frequently get calls for shoots that have already been scheduled. Many publications pay based on the actual space the photos occupy in the magazine in addition to or instead of a day rate. And for those of you who don’t know, she has had a very accomplished career as a photo editor, including running Time Magazine’s photo department for a while and winning lots of awards along the way.
I think social media is a great tool for freelance editorial photographers to link out to their websites and highlight their recent work. Makeup artistry is my deepest passion and greatest joy and it always shows in the work that I do. Typically, as long as the issue has hit the news stands, most publications are pretty flexible regarding the embargo period.
Whether it works for you depends upon how busy you are and what fees and terms you’re accustomed to getting. Our photographer, a still life specialist, was asked to just quote on the still life portion of the project which consisted of 23 pictures.
This was our first hint that the project may be a larger production than your typical studio catalog shoot.
Some catalog work is so much about volume and so little about skill that rates can be as low as 1000.00 per day.
We budgeted 4 prep days for the stylist – 2 to get props and 2 in the studio to prepare the clothes, make any necessary alterations, and set up at least the first couple of shots.
The agency had now developed an updated concept (which happened to be very similar to the photographer’s promo) representing the next step in the evolution of the campaign, and they wanted  to consider our photographer for the shoot. The shot list for day 2 was almost identical to day 1, except it consisted of shooting against a different background (at the same studio), which was still to be determined based on further creative direction. We do our best to reconcile the discrepancy between what they’re asking for and what they’re likely to do with the images.
The greatest impact and greatest value comes with the first image. In situations like this we feel the first image is worth the full rate and each subsequent image has a lower value. She then told me that all of the estimates would put them over budget, and asked for an estimate limiting the duration to 6 months. We generally figure that doubling the duration of use might increase the value by a factor of 1.5. Also, she told us that instead of using the photographer’s studio, they had a specific LA studio in mind, for which I was able to find rates for. And if it’s a magazine for an airline or hotel, which tend to have content that’s comparable to regular editorial (and often contain third-party advertising), the fees will be about the same as regular editorial. I’d rather have the invoice come in a little bit under the estimate than a little bit over. It was actually one of the models who spotted it first and I received a very embarrassing phone call from her agent who asked me how that shoot ended up on a billboard. I called the model agency and they told me that they ended up with $1500 for each girl for a year’s usage.
I offered them $1500 per month, which they thought was ridiculous (I thought what they paid the model agency was ridiculous!). It also concerns the disassociation of my image to me (now known as the face of that college and it impacts my professionalism – even the creative agency that I sought advice from assumed I stupidly gave the files to the college (I had given them to the ex-student to use for his portfolio). Worst case scenario, the client wouldn’t license any of the images and the photographer could put them into her stock archive.
In the event Publisher receives a request from a foreign publisher to use the Artwork for its foreign translation editions of the Work, Publisher will direct such foreign publisher to negotiate directly with you.
But it’s up to the photographer to figure out whether to quote a big price for big usage or to offer a more moderate price for more moderate usage. The value ultimately comes down to how much the client is willing to pay for it and how much the photographer wants for it. They also have a nice magazine called AARP The Magazine, which has a paid circulation of over 22 million according to Audit Bureau of Circulations. Everyone there is really nice, they pay pretty well, they have a pretty reasonable contract and they have a massive audience. I find that some clients like to lock down the subject first, then find a photographer who’s available on that date.
But space has never been a consideration because the pictures tend to be small in the Bulletin and on their website.
Twitter and Facebook are the giants of the social platforms.  LinkedIn is a more serious business-oriented site for posting. Also, unlike most campaigns which focus on one product, each of these ads promoted a different variety of this particular brand’s product.
The comps showed shirts, pants, shoes and accessories shot from above, on a flat surface, arranged as an outfit. In those cases, the work is usually done directly for the client (rather than through an ad agency)—and often using the client’s studio and equipment.
By pricing the first image at 20,000, the high end of the range for this type of licensing, and the additional images at 10,000 each, the low end of the range, we came to rest on a fee of 110,000.00. Moving in reverse, if we’re cutting the duration in half, we could divide by 1.5 which would leave us at $73,333. They said that they knew the figure was low, but at least they would receive some pocket money.
In this case, I was concerned that the price for all editions might be too steep, so I chose to amend that language and work up a price for just the first printing (keeping in mind that part of the value of the picture is that it would be used in advertising to promote the book). The subjects they have me shoot tend to be senior citizens (as you might imagine) and the stories cover just about anything, from nursing home romances to social security swindlers. In cases where I’m already booked for that date, I’ll ask the client if I can check the subject’s availability for another available date rather than turning down the shoot, and often that works out. My normal turnaround time for reproduction file preps is another 48 hours and I frequently do charge rush fees (usually 75.00 additional for 24 hour delivery). There are available platforms, such as Tweetdeck, that freelancers can use to post simultaneously to several sites at once to market their work. An additional 500.00 for the cover would be quite low if it was a consumer magazine that sold on the newsstand, but for a trade magazine I think it’s (on the low end of) reasonable.
For this reason we opted not to factor in any sort of volume discount for the 2nd, 3rd and 4th ads, as we would do if we were licensing different pictures of the same product. Along with the layouts, the agency provided a detailed shot list specifying 3 days of shooting at a local studio.
However, at that point I was having second thoughts that my 1 year rate was too low to begin with.
Of course, there’s a range of what constitute a reasonable fee – especially on a large project like this one, and the photographer and I agreed that this one was still reasonable.
I considered the prominence of the client and the fact that the assignment was coming through an agency that liked the photographer enough to pay for travel to a market saturated with photographers. They specified that they want to pay 750.00 for the digital use, but have asked us for a price for the book use and the merchandising use. I also crossed out the line stating that the Publisher would own the copyright in the cover of the Work which would conflict with my “first printing” revision. They seem to have a bit more latitude on Bulletin assignments (and I suspect even more for the magazine). However, I’ve seen many cases where magazines offer very low budgets and ask for lots of use beyond the basic first print use and I’ll usually strike most of those extras. Additionally, the photographers level of experience was a consideration, he was relatively new to large advertising projects.
Most contracts will establish that the photographer is an independent contractor rather than an employee, which is fine. Based on these factors and our experience with this particular agency and similar past projects, we decided to price the fee at 24,000.00.
In cases where the photographer sends a client their contract, the photographer shouldn’t sign it first, because if the recipient makes revisions, it looks like the photographer agreed to those revisions. Using the “all advertising pack” option, Fotoquote, Blinkbid and the stock sites suggested a price of about 12000.00 per image, or roughly double what we quoted.
It’s Bid Consultant calculator has an interesting feature that allows you to fine tune the price based on the photographer’s level of experience. Adjusting for regional rather than national use might bring it down to around $10k which is in line with BlinkBid.
This is really the kind of project where the fee could be anything, depending on the cause and how the photographer felt about it.



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