Cheap photography and lower barriers to entry are two realities of the Internet age. Per-image pricing is the key to survival for the new media photographer.
Allow me to offer my favorite illustration: A client requests photography for a Web site. The company needs 10 images shot on location. No models or special props needed. They figure it will take a day to shoot; you agree. As a photographer, you have three common options for estimating the project: you can offer a day rate, a per-image rate, or a per-project rate. Let’s say without consideration for usage of the images, we estimate the job at $2,000 ($1,500 for the day and $500 for expenses).
If you offer a day rate, the first thing a client will wonder, especially if they have not worked with many photographers, is if the photographer or anyone is really worth $1,500 a day.
Today’s photographers tend to work much faster and are much more efficient than in the days of film. In the era of film photography, day rates may have made sense.
If a photographer is hired for a day shoot and completes the assignment at 2:00 p.m., what might a client request? Often it’s a discount, because the value of the assignment is on the photographer’s time. The photographer is penalized for his productivity. If the photographer reminds the client that the $2,000 rate is still in effect because the entire day is reserved for the job, the client may then feel cheated.
What if the photographer spends the entire day on location, works hard and creates 15 wonderful images? Is the client happy? Absolutely; the client received a bonus. What benefit did the photographer receive for his great work and efficiency? Nothing.
You can argue that a happy client is worth the effort. True. But, if you feel like you are being taken advantage of on a regular basis, attitudes tend to change. This erodes good relationships over time.
If the photographer offers a per-image price of $200 for each of the 10 photographs, it is much easier for the client to see the value of each photo.
If the photographer is efficient and completes the project at 2:00 p.m., does the client look for a discount? No, the photographer is a hero because everyone can go home early.
If the photographer spends the entire day on location and creates 15 wonderful images, what might the result be? Often the client will purchase the additional images if it’s in the budget. The photographer is rewarded for doing a good job. The client is often happy to purchase the additional images. They are not mad about the purchase because they understand the value of each image and have no obligation to purchase.
Depending on the production requirements of the assignment, it is generally better not to require a minimum purchase. Although a minimum purchase requirement may be necessary if production expenses are high. But, if a client is expected to purchase additional images they like, should they have to pay for images they don’t like?
I present myself as the high-value, low-risk photographer. I’m not cheap. I’m a good photographer. But, I don’t want clients feeling bad because they have to purchase images they don’t like. I understand having a client pay for unwanted images is a greater cost than the rate charged for the images. When clients know they have choices, they will be more flexible. Often they will grant another opportunity, when available, to create another image.
When shoots involve more production, they may require a project rate. Projects that take multiple days or require a specific amount of time may also require such rates.
Pricing options are endless. Sometimes, when presenting a per-image system, the first image is at a higher rate than the additional images. For example, the first image’s rate could be $500. Each additional image could be purchased for $375. Models, props and location fees can be separate, line-item charges. Usage and licensing fees also may be added on a separate line. Whether the usage is listed separately or not, the license always should be listed in the quote and contract.
The need for custom photography is greater than ever. As high-end Web sites are becoming standard for businesses, the quality of a company’s Internet presence is more important then ever before. Poor photography delivers poor results. Average photography offers average results. Generic stock images do not reflect a company’s unique professional image.
The print world is finite. The world of the Web is practically infinite. When a client needs images for a brochure, the amount of room available for additional photography is limited. However, a client may benefit from every image they want for the company’s Web site.
As digital photography has evolved, photographers have attempted to charge for the additional costs and production time associated with digital imagery. Using a per-image pricing model allows the photographer to incorporate such expenses into the cost.
Sometimes photographers (myself included) do not price their projects correctly. Under-priced projects lend themselves to additional poorly priced opportunities. If a photographer offers to take three individual portraits in one hour for $75, in most cases she has underbid the job. Let’s say she completes the project in 45 minutes and two additional people show up. Of course, the project would take longer, in this case 70 minutes total, and the photographer may not charge for the extra ten minutes. The client receives five images for $75.
If the photographer charges $25 per image, although a very low rate, the photographer will still make $125 for the five images. Most likely, the client won’t blink.
The advantages to both the photographer and client are great. The client’s time and budget are respected. Often the client is eager to use the entire budget when given the opportunity to purchase valuable images. Being respectful of the client’s time is not to the benefit of a day-rate photographer.
The day rate is the old way of doing business. Per-image pricing fits well with the new media photographer model. The value of many types of photography is a commodity. Placing the value on each image rather than on the photographer’s time helps stabilize pricing and allows the new media photographer to make a living in the new media world.
Rosh
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Tags: Arts, Arts and Entertainment, business, digital photography, Photograph, Photographer, photographers, photography, Pricing, World Wide Web
I like it!
Now…can I sell it to my clients…
I use it as a selling point.
My client is in total control of their budget.
They only pay for the images they like or need.
They don’t have to worry about the clock or over-time if I take extra time or delays to complete a project.
It’s hard to switch clients from day rates. I would recommend applying per image to new clients.
The only time I’ll still use time based pricing is for events. But, my weddings (when I do them) are per image priced. You have to be careful in the retail market.
Also some photographers object to the possibility of loosing in a deal. I say if you worry about the one or two a year that might choose fewer images or even none, you will loose out on the opportunity for many times that will purchase more than originally planed because you did a good job.
This has been my experience.
Rosh
I have often combined methods. Basic day rate provides customer with X images per shooting day for agreed-upon usage. (sometimes 5 to 10 images per day) Additional images can be licensed at a fixed per-image rate. If they like the work they can decide afterwards to license many more images.
I agree also, I confirm what Rosh said about events, I offer it per hour rate or per day rate (depending on the need of the client). Like last week, I had a client asked to covert an event, give her the choice between my day rate or my hour rate. She chose the second one which was the best one for this case scenario. I made more money. I billed travel expense separately and she managed the hotel room and the lunches.
Since now it’s working fine.
@david combining the options is great. The number of options available to a photographer is endless. The key is not to leave money on the table.
As stated by Frederic events can allow for day rates. The reason is you are trapped. You can’t become more efficient at an event. You are stuck until the event is over.
I’ve been doing this for six months (I’m only ten months into the business) through Zenfolio offering three resolutions with 30 free 1MP lo-res images for the biggest package my clients buy. I also offer a la carte as well which is of course way higher per pic than if they “buy in bulk”. Similar to David Sanger, I combine a low session fee and a per image rate with packages for “bulk”.
I am now making about 2k a month which I think is really healthy for a business during these times that’s just under a yr old .
Thanks for the validation
I charge per image that the client chooses out of what I shoot @ $35.00 per image chosen up to a file size of 300dpi and 8″ X 10″- any size that they wand the file to be larger than that is an additional $35.00 per image which comes to a total of $75.00 per image that thy choode – for example if I spend 4 hours and there are 1800 images that I have shot and the client chooses 110 images they pay $3,850,00 proof prints 8″ X 10″ are $5.00 each and on occasion I might make larger sized prints if I know ahead of time to purchase the paper and they are definitely going to want larger size files and prints – yjr 4 hours is a random example – there is no time limit that I place on the assignment therefore there is no pressure on either me or the client – and if there are as models – the shoot is extended or shortened depending on how fast they work with the client and preparations -
The biggest arguments tend to come from photographers concerned people will take advantage of them. There is some validity to this argument in the retail market. In the corporate/advertising world I’ve had little issue.
Again, time based shoots such as events may not always work. But, ultimately, it depends on how well a photographer is in control of their business, sets and shoots. If they are not in control. They will get trampled whether using per image or day rates.
Rosh
Rosh, I agree with you, in certain situations. We shoot commercial work by the image, but we shoot senior pix (high school, not sr. citizens) by the project. They get all the images that are fit to be included (and we decide what is “fit”). Each pricing model works best according to the intended use of the images.
Btw, thanks for the introduction to the new media photography concepts at your recent presentation in Denver — I was the other guy who grew up in Detroit!
Robert.
@Robert
Thanks for your comments and being apart of the community. I had good time in Denver. I hope to visit again soon.
Rosh,
I like the idea of per shot pricing in certain circumstance. Headshots and events are a perfect example and for clients who have no experience working with photographers.
I’m not so sure this would be fair for the photographer in a corporate or Annual Report shoot. For instance, a job requires six shoots to be completed in one day. You charge $500 per shot including assistant, digital capture and one select from the scene. You quote $3000 for the project which includes delivery to the client six images, with the understanding that any additional images selected by the client of a particular scene would cost extra(agreed on beforehand).
It’s the day of the shoot and everything is progressing nicely but for some unforeseen reason one of the shots has to be postponed to another day. Unless it’s spelled out before hand, the client may expect the photographer to come back a second day to complete the job for the same $3000.00. Returning a second day for $500.00 is a bad deal. Even worse, if while on location the client decides to cancel shots #5 and #6, is he only required to pay $2000 for job? Good for the client but the photographer who has committed a whole day.
Best…Stan
Head shots are a great example. I agree that each situation is different and stated so in the article. The $3000 plus additional cost for extra photos is much the same thing. You are not giving the client everything you shot in the day.
Forgive me Stan, but you are making much of my point about photographers being more focused on themselves. You can protect yourself in your contract multiple ways. For example, line item the assistants cost or require a minimum number of shots to be purchased.
But, I’m recommending photographers implement a system that offers the opportunity to make more money overall for their productivity and good work. A system that shares risk, but offers great rewards. Shouldering some of the risk is should be acceptable, in my opinion. I rather a client be happy that they got all the shots at the agree upon price and had a great experience and wants to tell others.
Maybe in the case of the annual report work a project basis is best. $3000 for six shots But, leave out the word day rate.
Thanks again for your great comments Stan,
Rosh
I have done per image pricing for many clients ever since I started freelancing almost 30 years ago. The deal usually is that the client pays a per photo rate per use, and I keep the copyright, etc.
The advantages to the client are that it is very easy for them to calculate the cost of their project ahead of time, and they aren’t stuck with images they don’t like.
For me? Every time they decide to use a photo I get paid for it – I’ve been getting royalties on some photos for years. Also, I’m not “on the meter” when I am shooting, so I am free to shoot everything that interests me and take some risks. It also makes bidding a job easier, at least for me.
My goal is always to look at a client as someone I intend to have as a client for 10 or 20 years, and behave accordingly. To that end, I try to make working with me as pleasant as possible.
There are millions of great photographers out there. The only thing we really have to sell is service.
Jeff,
You make solid points at the route of the idea. Easier for both you and your client. Plus, If they want more images or someone else would like copies you have the opportunity to make additional income. A favorite point of mine, that I failed to mention in the original post.
Thank you for your input.
Rosh
[...] Links: This was posted earlier this Spring by photographer, Rosh Sillars, “The Case for Per-Image Pricing“, and serves as a good follow-up read to Don’s 10 Pricing [...]
I’ve been charging per-image for years as well and find that clients understand and appreciate it and it really helps my bottom line. The one thing I like about this system is the onus falls on me to produce great work that the client loves and wants to license more of. In all the years I have been doing it I have never had a client not license extra images beyond what they originally planned for. Budgets tend to go out the window when they can actually see the work and visualise how it will help them sell their product.
I charge different amounts per image based on the usage so that I can cater to different clients. I also have a clause in the contract stating that the shoot will take place over a set period of time and anything extending beyond that time will incur extra charges – so that gets me out of the problem mentioned above if the job goes longer than expected. And I also do the same as David, charging a minimum fee for a set number of images to ensure I make my CODB for any particular job.
I like it and I don’t think I’ll have any problems selling this to clients
See ya in Chicago in Nov
[...] prices her photography per image. Quality Web sites need a lot more imagery. If she can make more money by doing a great job and [...]