pricing your work corporate and industrial photography

7/27/2019 Pricing Your Work Corporate and Industrial Photography

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TABLEofCONTENTS

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Introduction

Breaking Down Contract Language

Types O Assignments And Their Relative Value

The Value o Motion Shoots

FAQs, Resources, & Additional Tips

Finding Clients

Conclusion

About Bill Cramer and Wonderul Machine
http://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdfhttp://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdfhttp://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdfhttp://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdfhttp://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdfhttp://rocks/Design/Marketing/Guides/2013-05-08_Guide_University_MU/guide/mockups/2013-05-20_GUIDE_ProductTour_MU.pdf


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3| PRICING YOUR WORK: CORPORate & INdUstRIal PhOtOGRaPhY

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Welcome to the second installment o our series o guides about pricing your work. In this

one, we'll cover corporate and industrial assignment photography. (Well be considering cli-

ents based in the Unites States, as pricing and terms may vary elsewhere.)

It seems there was a golden age o corporate photography in the 80s and early 90s when

corporations were ush with cash and photographers like Jay Maisel and Gregory Heisler

were ying around the world shooting splashy annual reports ull o big beautiul pictures.

While those days may be gone (or now at least), there continues to be a steady need for

corporate photography in spite of a sluggish economy. And in some ways, demand hasgrown as companies nd more and more channels to get their message out. Te explosion

o digital platorms has made pricing photography trickier or photographers and it's made

clients more demanding. At the same time, advances in camera technology have made it

easier or still photographers to capture sound and motion too, which can create lots o new

creative and business opportunities or them.

In this guide, well look at what rates photographers typically command or this type

o photography and how usage actors into that value so you can make the most o

those opportunities.

W pp "p" "" pp?Partly, corporate and industrial photography reers to the subject matter. Corporate pictures

tend to depict executives posed or in action in oce environments. Industrial pictures might

show workers, processes or products at construction sites, arms, actories, oil rigs, reneries

or labs. Tese terms can also reer to the type o clienttypically big companies, as opposed

to newspapers, magazines, record companies, schools, hospitals or individuals. Finally, the au-

dience or corporate photography tends to be employees, shareholders and existing custom-

ersas opposed to reaching new customers, which is oten achieved with paid advertising.

(Corporations do plenty o advertising, but we'll consider that in a uture guide.)

Introduction As it turns out, pricing industrial photography is not so diferent rom pricing corporate as-signments. For that reason, well simply reer to them both as corporate rom here on out.

But the actual experience o an industrial shoot sure can be diferent. While most corporate

shoots take place in the comort o a climate-controlled oce building, industrial shoots

can take place anywhereinside a greasy actory, in a rerigerated box car, hanging out o a

helicopter in gale-orce winds, or on a container ship or oil rig in the middle o the ocean.

Its denitely not or the aint o heart. In act, you may need to jump through some seri-

ous hoops even to be considered or certain projects. For example, i you work in the airline

industry, you might need aransportation Worker Identiication Credential (WIC). I youwork on big ships, you may need to take Basic Oshore Saety Induction and Emergency

raining (BOSIE). I you're working in the Gul o Mexico, you may need SaeGultrain-

ing. So be prepared!

You can nd lots o good examples o corporate and industrial photographs on the United

echnologieswebsite, including their annual reports or 2011 and 2012.

W f p ?Tere are our main actors that inuence the value o assignment photography: time, usage,

expertise and competition: a photographer's time (including pre-production, shoot time, and

post-production time) sets the minimum value o an assignment (the value to the photogra-

pher). Te way the client is going to use the pictures (and the size o the company) sets the

maximum value o an assignment (the value to the client). Where along that continuum you

should position yoursel is a unction o your expertise (which i very good, will apply upward

pressure to your price) vs. competition (which i equally good, will apply downward pressure).

How special are your skills and how many other photographers could do that job? Te more

unique you are, the closer you'll be able to push your price up towards the maximum value.

Its important to understand that commercial photographers dont sellclients' pictures, they

licensethem or a specied use. Te value o the pictures is proportional to that use. A pic-
http://www.tsa.gov/stakeholders/transportation-worker-identification-credential-twic%C2%AEhttp://mstc.louisiana.edu/courses/BOSIET.shtmlhttp://mstc.louisiana.edu/courses/BOSIET.shtmlhttp://www.safegulfweb.com/http://www.utc.com/Homehttp://www.utc.com/Homehttp://2011ar.utc.com/http://2012ar.utc.com/http://2012ar.utc.com/http://2011ar.utc.com/http://www.utc.com/Homehttp://www.utc.com/Homehttp://www.safegulfweb.com/http://mstc.louisiana.edu/courses/BOSIET.shtmlhttp://mstc.louisiana.edu/courses/BOSIET.shtmlhttp://www.tsa.gov/stakeholders/transportation-worker-identification-credential-twic%C2%AE


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ture used on a billboard is worth more than that same picture when used in a newsletter.

Sometimes clients will want to license broad rights upront. Other times, it will be more cost

efective to license narrow rights initially or a lower price and then license additional use o

the pictures as the need arises. Tere are many honorable clients out there, but there are also

some who will try to convince you that they are paying or your time and they are thereore

entitled to use the pictures any way they want. Dont be intimidated by them. Learning howto discuss usage with clients is crucial to any individual photographer's success, and or the

success o photographers in general. I you ever nd yoursel complaining about the low rates

or rights grabs that photographers have to endure, rst ask yoursel i you're contributing

to that problem.

"I you ever fnd your-

sel complaining about

the low rates or rights

grabs that photogra-

phers have to endure,

frst ask yoursel i

you're contributing to

that problem."

Credit:Jason Grow
http://www.jasongrow.com/http://www.jasongrow.com/http://www.jasongrow.com/


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Your ability to negotiate a good deal is going to hinge largely on your ability to express

yoursel in the orm o a contract. Youll need to structure your contracts in a way that

will meet the needs o your client while also protecting your interests. It's reasonable or

clients to want to be able to use the pictures without worrying about inringing on your

copyright or negotiating every single use. But its not reasonable to get a national ad

campaign or $150/hour.

Tere are times when a client has a very specic use in mind and it will be appropriate to

license the photographs or just that use. But with so many options at their ngertips, likewebsites and social media in addition to printed material, clients will oten want broader

use o the pictures. At one extreme, you can license a client one-time use in a particular

publication. At the other extreme, you could let them use it any way they want. But in

most cases, something in the middle i s going to be more appropriate.

Te ollowing terms are useul in describing diferent types o use:

Publicity use is when the client submits photographs to an outside publication (oten in

the orm o a press kit) or editorial use and the client (or their client) is not paying or

that use. Tis tends to be the least valuable o the uses.

internal collateral use is when the photographs appear in a publication that the client

produces, such as a newsletter, brochure, pamphlet, poster or (internal) website, and whose

audience is limited to the corporation's employees. Tis is also o modest value because o

the limited audience (though there are some corporations with hundreds o thousands o

employees) and the purpose is more inormational rather than to generate revenue.

external collateral use is when the photographs appear in a publication the client

produces and distributes, such as an annual report, corporate magazine, brochure or web-

site, and whose audience is customers, shareholders or the general public. Tis is more

Breaking Down Contract Languagevaluable than internal use because o the larger audience and it's more about building abrand to generate revenue.

advertising use is when a corporation is paying or the placement o a photograph in

whatever media it appears, such as in a newspaper, magazine, billboard, or website. Tis is

the most valuable usage because o its large audience and its ability to generate revenue

or the company. In addition, the media budget will make it very clear how important

the photography is to the client. Its unusual or advertising licensing to be included in

corporate assignments. Instead, its common to quote corporate photography by the day(or a specied use) and ofer an option to use pictures in advertising on a per-picture

basis (or a specied use). You can get a sense o what advertising photos are worth by

consulting pricing guides like Blinkbid or FotoQuote.

By using these terms in your contracts, you'll be able to give your client moderate use o

the pictures or a moderate price. For clients who want "unlimited use" on a limited bud-

get, we nd it efective to send them two estimates to choose romone with their budget

and limited use and one with a higher ee and unlimited use. Some clients will ask or a

buyout. Tis is a term that a lot o clients and photographers use, but it means something

diferent to everyone, so I recommend avoiding it. Instead, i you want to allow your client

to use the pictures any way they want, orever, just grant them publicity, collateral and

advertising use orever.

Another way you can limit the use o your images is by speciying the duration o use or

the number o pictures. Some photographers routinely speciy two or three years' use or

any given project. Other photographers license their pictures or a specic type o use

orever, guring that the value o most pictures declines rapidly ater a ew years. A more

useul negotiating tool is limiting the number o images or a certain price. Tis is almost

always the case or advertising photography. But in cases where a client insists on very

broad use, limiting the number o pictures is a reasonable way to limit the "unlimited."
http://www.blinkbid.com/http://www.cradocfotosoftware.com/fotoQuote-Pro/http://www.cradocfotosoftware.com/fotoQuote-Pro/http://www.blinkbid.com/


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Lets break down the major types o corporate assignments, what they entail, and why

each are important to clients.

event PhotograPhy: Event photography usually entails simply documenting meetings,

speakers, ground-breaking ceremonies and other photo opportunities. Tis probably oc-

cupies the lowest rung on the pricing ood chain because not only does it require the

least amount o skill, but it requires very little equipment and the pictures tend to be

used only or internal (or other modest) purposes. Tese events usually do not to lend

themselves to making interesting or important pictures that might otherwise be morevaluable to the client. A typical ee can land around $100 - $200/hour (or shoot time

and post-processing time) plus incidental expenses like mileage, parking, tolls and meals.

Some photographers charge hal their shooting rate or travel time to and rom the shoot.

From a licensing standpoint, most companies will want publicity and internal collateral

use (plus social media) orever. Its not unusual to exclude print collateral and advertising

use and negotiate an additional ee when the need arises.

headshots:Corporate headshots are typically lit head-and-shoulders pictures on a seam-

less paper background or against a simple out-o-ocus background. Mostly, these come

with a low to moderate budget when the pictures are or press kits, websites and other

general use, since these shoots are not very demanding and there are many photographers

who can handle them. However, i they're specically being shot or an annual report or

some other high-prole publication, a higher level o quality will be expected and bigger

budget will normally be available. A photographer can typically charge $150 - $300/hour

or shoot time and $100 - $150/hour or post-processing time plus assistant, seamless

paper, mileage, parking, tolls, and meals. Again, some photographers charge hal their

shooting rate or travel time. Charging separately or photographic equipment is not un-

common or many assignments, but somewhat unusual or headshots. I you have estab-

lished a regular rate or a particular client, it may make sense to stick to that or headshots

too. But i it's a rst time client, charging by the head shot will probably make more sense

Types O Assignments And Their Relative Valueor both the photographer and the client. (A typical rate might be around $500 or therst headshot and $100 - $200 or each additional inc luding post processing.) Tat way,

the photographer is getting paid in proportion to their productivity and the client is being

charged in proportion to the value they're getting. Charging or headshots by the hour

or by the day can set up a situation where the more productive the photographer is, the

less they're getting paid per picture. At the lower end o the pricing spectrum, we would

normally include publicity and collateral use orever, excluding annual report use, which

along with advertising use will be negotiated separately. Some clients will want to include

annual report use, but be sure to actor that into the ee i that s the case. Its almost un-heard o to include advertising use unless youre shooting the pictures or that purpose in

the rst place (and or much higher ees).

corPorate rePortage:Tese images normally depict people in real working situations,

but with more sophistication than event photography. Te pictures usually do not require

much in the way o equipment or crew, but they demand a lot o nesse, awareness and a

keen eye. Tese assignments come with at least moderate budgets as they require a decent

level o expertise, and the pictures could have a wider variety o applications. Photog-

raphers can oten charge around $1500 - $3000/day plus mileage, parking, tolls, meals

and $100 - $150/hour or post processing time. Since the pictures tend to be shot in a

photojournalistic style, assistants, strobe lighting and hair and make-up are rarely used.

Te licensing is typically publicity and collateral use orever, excluding annual report

use, which along with advertising use will be negotiated separately. Photographers dont

normally charge separately or local travel.

environmental Portraits: Environmental portraits are oten lit, always controlled, por-

traits o people ull-body or cropped to the waist, sometimes multiple people, in a setting

that helps tell their story. Tese shoots have moderate to high budgets due to the level

o skill required, the moderate amount o equipment and crew necessary and the wide

variety o uses that clients will nd or them. Rates oten all between $2000 - $3000/


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day plus $100 - $150/hour or post processing time, assistant ($250 - $350/day), mileage,

parking, tolls, and meals. Some photographers charge separately or their photographic

equipment. Depending on how important the picture is, it's not unusual to bring along

someone to handle hair/make-up, especially or emale subjects. For male subjects, Ill

bring my own powder, sponges and an apron (to keep the powder of the subjects cloth-

ing). Te licensing is typically publicity and collateral use orever, excluding annual reportuse, which along with advertising use will be negotiated separately. Photographers dont

normally charge separately or local travel.

corPorate liestyle: Tese shoots can be executed with a reportage or portraiture

approach (or ashion or landscape, or that matter), but always employ a photogra-

pher with a specic style and who brings a high degree o production value to the

shoot. Tis will o ten include strobe lighting, hair & make-up, sometimes wardrobe,

location scouting in advance o the shoot, as well as careul selection and directing o

subjects. Te production values o these pictures are such that ewer photographers

can make them and theyre valuable to the client because they tend to be used tobuild a corporate brand. In addition to showing people at work, the pictures can

sometimes strike a more symbolic or inspirational tone, like a hand-shake, someone

looking out the window dreaming o the uture. At its best, a good corporate lie-

style photographer can create pictures that can help dene the image o the whole

company. A typical ee can be $3000 - $6000/day plus $100 - $150/hour or post

processing time, assistant, (sometimes digital tech, hair/makeup, wardrobe, casting,

talent, location scouting), mileage, parking, tolls, and meals. Te licensing is typically

publicity and collateral use orever, excluding annual report use (at the lower end

o the price range), which along with advertising use will be negotiated separately.

Photographers dont normally charge separately or local travel.

You can nd examples o corporate liestyle photos on the MetLie website. Click on the

Insurance, Investments, Planning, Retirement, Employee Benets and Lie Advice tabs.

library shoots: Tese shoots tend to sit at the top o the corporate photography ood

chain in terms o skill needed to pull them of properly and value to the client. Te ex-

pectations production-wise are the same as corporate liestyle, but instead o shooting

a particular subject or a particular publication, library shoots are about creating a wide

variety o images that could be used or all sorts o purposes across diferent divisions o

a big company. As a result, photographers can charge $5000 - $7500/day plus expenses.

Te licensing is typically publicity and collateral use orever, including annual report but

excluding advertising use as that will be negotiated separately. Its not uncommon to limit

the number o images or a particular ee and ofer an option to license additional images

at a predetermined price per picture.

As good as that might sound, we have also seen some highly sought-ater photographerscommand as much as $15,000/day or corporate liestyle and library shoots.

Credit:Audra Melton
https://www.metlife.com/individual/life-advice/index.html?WT.ac=GN_individual_life-advicehttp://www.audramelton.com/http://www.audramelton.com/http://www.audramelton.com/https://www.metlife.com/individual/life-advice/index.html?WT.ac=GN_individual_life-advice


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The Value o Motion ShootsMore and more, clients are asking photographers to shoot motion in addition to, orinstead o, stills. For lots o projects, the creative ees will be about the same as or still

photos (or non-broadcast use), but the production costs will tend to be higher. While

still shoots can be relatively spontaneous, a motion shoot will require more planning,

more crew and more post-production time.

Historically, directors and videographers have charged or their time but not usage. Tats

because they tend to be one link in a long creative chain that can include producers,

writers, art directors, DPs, camera operators, sound technicians, grips, gafers, editors,colorists, musicians and more. But advances in technology are allowing photographers to

handle so much o the creative process themselves such that they now have the leverage

to license their moving images in the same way as their stills.

Tere are diferent roles you can play in a motion project depending on your interests,

skills, your relationship to the client and the size o the project. You might have an oppor-

tunity to be executive producer, director, line producer, director o photography, camera

operatoror any combination o those. Te bigger the project, the more people you need

to get the job done and the more specialized the roles become. As it oten works, the

higher up on the totem pole you are, the more youll get paid. I you have the relationship

with the client and youre willing to take on the challenge, youll want to play the role o

executive producer, where youll be supervising the whole project. Ten, you can decide

whether youre going to handle the actual camera work yoursel, or hire someone to help

you. Te most important thing to understand about motion work is that its a much more

collaborative process than still photography. But i you can make that mental leap, a lot

o possibilities can open up to you.

Here are some o the crew members youll need and what they typically charge:

Line producer (to manage the shoot logistics): $750/day

Director o photography: $600 - $2500/day

Camera opperator: $500 - $1000/day

Camera assistant: $350 - $500/day

Audio technician: $650/day

Gafer: $600 - $750/day

Grip: $400/day

Motion picture editors: $1000/day

And o course, youll also need camera, lighting and grip equipment which you can

price locally.

As executive producer, the bigger the project is, the more likely youll be to charge a

project ee rather than a daily ee.

Customer testimonials are one example o how corporations use motion pictures. You

can nd some good examples o this on the Caterpillar website.
http://www.catresourcecenter.com/stories/roy.asp?SRC=CATBC56&utm_source=catdotcom&utm_medium=banner&utm_campaign=CATBC56-Videohttp://www.catresourcecenter.com/stories/roy.asp?SRC=CATBC56&utm_source=catdotcom&utm_medium=banner&utm_campaign=CATBC56-Video


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FAQs, Resources, & Additional TipsWhat kinds of questions should I ask when a cor porate client calls about a shoot?Tere are three types o questions you'll need to ask (some o them you'll ask your

client, others you'll just ask yoursel).

creativewhat kind o pictures do we need to make? Who are the subjects? How

much time do we have with the subjects? How much time will we have to set up? Is

there a shot list? Who is the audience?

Productionwhat do we have to do to make those pictures? Do I need assistants,digital techs, props, wardrobe? Do I need to scout locations ahead o time? What is

the deadline?

usagehow will the pictures be used? For how long? In what publications will

it be distributed and how many copies? In what geographic area? Is there a pre-

determined budget?

What should my estimate look like?

I recommend a simple two-page document combined into a single PDF. Te rst

page will be your estimate that briey describes the pictures you're going to make, the

licensing the client is going to get, and the ee. Under that will be a list o production

expenses and a total. Te second page will list your boilerplate terms & conditions.

You'll attach that two-page document to an email (delivery memo) that says, "Dear

, thank you or considering me or your shoot! I'm attach-

ing a cost estimate and terms & conditions or your consideration. Please let me know

i you have any questions. Otherwise, i you'd like to move orward with the shoot,

kindly sign and date both pages and return to me at or ."

We happen to use Quickbooks to create our estimates and we write our terms & con-

ditions orm in Microsot Word.

You can download a basic sample estimate here.

You can download an editable Microsot Word version o our terms & conditions here.

We think it's a good idea to get a signature on your estimate (especially rom new

clients). Tat way, it's clear which revision o your contract they ve settled on and that

they have agreed to your terms.

Tere are times when you develop a regular relationship with a corporate client and itwill make sense to create an ongoing contract rather than sending them an estimate

or each shoot. Here's a contract that we created or a university client that you could

adapt or corporate use.

You can nd explanations o all kinds o contracts on theWonderul Machine blog.

Here are a ew corporate and industrial estimates:

Executive Portrait Shoot or Fortune 500 Company

Industrial Shoot or Annual Report

Low Budget Annual Report

Image Library Shoot

Group Portraits or Publicity and Internal Collateral Use

Article Reprints or Corporate Use
http://www.google.com/url?q=http%3A%2F%2Fwww.billcramer.com%2Festimate_sample.jpg.zip&sa=D&sntz=1&usg=AFQjCNHsFcWNMPxlEe7pjnRrcC-PuWid4Qhttp://www.google.com/url?q=http%3A%2F%2Fwww.billcramer.com%2Fterms_%26_conditions_041913.doc.zip&sa=D&sntz=1&usg=AFQjCNHAL_7AlH-QNKJaQF-S3ICmvAXcKQhttp://blog.wonderfulmachine.com/2010/08/exclusive-contracts-with-university-clients/http://blog.wonderfulmachine.com/?s=%22pricing+%26+negotiating%3A+%22&x=31&y=7http://blog.wonderfulmachine.com/2010/10/corporate-portraits/http://blog.wonderfulmachine.com/2011/11/pricing-negotiating-industrial-shoot-for-annual-report/http://blog.wonderfulmachine.com/2013/02/pricing-negotiating-low-budget-annual-report-shoot/http://blog.wonderfulmachine.com/2010/07/pricing-image-libraries/http://blog.wonderfulmachine.com/2010/06/publicity-pricing-and-the-value-of-subject-follow-up/http://blog.wonderfulmachine.com/2011/08/pricing-negotiating-magazine-article-reprints/http://blog.wonderfulmachine.com/2011/08/pricing-negotiating-magazine-article-reprints/http://blog.wonderfulmachine.com/2010/06/publicity-pricing-and-the-value-of-subject-follow-up/http://blog.wonderfulmachine.com/2010/07/pricing-image-libraries/http://blog.wonderfulmachine.com/2013/02/pricing-negotiating-low-budget-annual-report-shoot/http://blog.wonderfulmachine.com/2011/11/pricing-negotiating-industrial-shoot-for-annual-report/http://blog.wonderfulmachine.com/2010/10/corporate-portraits/http://blog.wonderfulmachine.com/?s=%22pricing+%26+negotiating%3A+%22&x=31&y=7http://blog.wonderfulmachine.com/2010/08/exclusive-contracts-with-university-clients/http://www.google.com/url?q=http%3A%2F%2Fwww.billcramer.com%2Fterms_%26_conditions_041913.doc.zip&sa=D&sntz=1&usg=AFQjCNHAL_7AlH-QNKJaQF-S3ICmvAXcKQhttp://www.google.com/url?q=http%3A%2F%2Fwww.billcramer.com%2Festimate_sample.jpg.zip&sa=D&sntz=1&usg=AFQjCNHsFcWNMPxlEe7pjnRrcC-PuWid4Q


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Finding Clients

Credit:Audra Melton

Most experienced photographers will tell you that word o mouth is the best advertising,

and it's no diferent or corporate and industrial photography. Early in my career, as I was

transitioning rom photojournalism to commercial photography, I decided to contact all

the biggest companies in the Philadelphia area. I didn't have many corporate-looking

photos in my portolio, but I had lots o portraiture and reportage. I had shot enough

newspaper assignments in corporate settings that I was able to put together a portolio

that those olks could relate to. I had heard that the Philadelphia Business Journal pub-

lished a Book o Lists , which turned out to be a great resource or me. In act, their parent

company publishes lists or 60 cities around the U.S.

I went through the list, rom the biggest company on down. I got 11 rejections beore I

got someone rom ARCO Chemical Company to meet with me. Tey happened to need

a photographer, and they gave me a chance. I shot an assignment or them. Ten another.

Te design rm that they worked with liked my pictures, so they reerred me to an-

other o their clients, Rhone-Poulenc Rorer. And then another called McNeil Consumer

Products. What started with a ew phone calls ended up resulting in well over a hundred

thousand dollars worth o work or me over the next couple o years.

Another useul source o client inormation isAgency Access, which tracks client contact

inormation or prospects at corporations, magazines, ad agencies and other types o clients.

And o course, theres the Fortune 500 list and the Global 500 list, published by CNNMoney.

I youre doing your own research, you'll also need to nd the right person within each

company who's in a position to hire photographers. At some companies, it's the corporate

communications director. For others it's someone in the investor relations department or

public afairs or graphic design (or at some larger companies, all o the above). Sometimes

the receptionist answering the phone will be able to guide you. Other times, they won't re-

ally know and you'll have to take a stab at one o those departments.

Corporations will tend to work directly with photographers on smaller projects and

through graphic design rms or ad agencies on bigger ones. You'll simply have to do

some detective work to learn who the right people are to connect with, whether theyre

inside or outside the corporation.

Shooting or business publications can also be a bridge toward corporate work. I once

shot a portrait o a Morgan Stanley executive or Business Week and Morgan Stanley

subsequently hired me to photograph their key people in New York, London, Singapore,

okyo and Conshohocken or a capabilities brochure. And there were many other valu-able connections I was able to make over the years working or business magazines. For

more on that, check out Pricing Your Work: Magazine Photography.
http://www.bizjournals.com/commerce/?ana=bsh_bol?source=gooaw&gclid=CMv56ZLD17YCFUJx4Aod6mAA-Qhttp://agencyaccess.com/http://money.cnn.com/magazines/fortune/fortune500/2012/full_list/http://money.cnn.com/magazines/fortune/global500/2012/full_list/http://www.photoshelter.com/mkt/research/pricing-your-work-magazine-photographyhttp://www.photoshelter.com/mkt/research/pricing-your-work-magazine-photographyhttp://money.cnn.com/magazines/fortune/global500/2012/full_list/http://money.cnn.com/magazines/fortune/fortune500/2012/full_list/http://agencyaccess.com/http://www.bizjournals.com/commerce/?ana=bsh_bol?source=gooaw&gclid=CMv56ZLD17YCFUJx4Aod6mAA-Q


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Te rst step in learning how to price your work and negotiate efectively is to actively

engage in the process. I you simply take what you're given each time, you'll always be

working too cheap. Just as you will spend your whole career learning how to make great

pictures, i youre smart, youll spend your career learning how to judge your worth and

negotiate air compensation or it.

I'd like to thankom Maday, Marc Morrison, Edward Carren, Roger Mastroianni,

Jason Lindsey, Lou Bopp, David Vincent Wol,Audra Melton,Mike Roemer,Joshua

Drake and Raymond Patrickor their valuable assistance in writing this article.

Wonderul Machine is available to help all photographers with estimates and shoot pro-

duction. Call Craig Oppenheimer at (610) 260-0200 or more inormation.

Conclusion

I you simply take what

you're given each time,

you'll always be work-

ing too cheap.

Credit:Jason Grow
http://www.tommaday.com/http://marcmorrison.com/Artist.asp?ArtistID=9770&Akey=7S457WDJhttp://www.carreonphotography.com/http://rogermastroianni.com/http://jasonlindsey.com/http://www.loubopp.com/http://davidvincentwolf.com/http://audramelton.com/http://audramelton.com/http://www.roemerphoto.com/http://www.roemerphoto.com/http://joshuadrakephotography.com/#/Corporate/Industrial/5/http://joshuadrakephotography.com/#/Corporate/Industrial/5/http://raymondpatrick.com/Artist.asp?ArtistID=38692&Akey=4T347T8Lhttp://raymondpatrick.com/Artist.asp?ArtistID=38692&Akey=4T347T8Lhttp://joshuadrakephotography.com/#/Corporate/Industrial/5/http://joshuadrakephotography.com/#/Corporate/Industrial/5/http://www.roemerphoto.com/http://audramelton.com/http://davidvincentwolf.com/http://www.loubopp.com/http://jasonlindsey.com/http://rogermastroianni.com/http://www.carreonphotography.com/http://marcmorrison.com/Artist.asp?ArtistID=9770&Akey=7S457WDJhttp://www.tommaday.com/


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About Bill Cramer and Wonderul MachineBill Cramer is ounder and CEO oWonderul Machine, a curated directory o high-quality photographers, serving commercial and edito-rial clients worldwide. He is also a photographer in his own right, specializing in environmental portraiture or a wide range o corporate,

editorial and advertising clients including Forbes, BBDO, Comcast and Accenture.

Graduating rom Penn State in 1985, Bill began his career as a photojournalist, stringing or theAssociated Pressand Te New York imes. He

assisted many prominent photographers, including a year with ashion photographer Steven Meisel. Over time, his interests grew to include

portraiture, where he now concentrates his eforts. He has received a number o industry awards and has been included in Communication

Arts Photography Annualthree times.

In 2007, seeing an opportunity to build a better mousetrap, Bill created Wonderul Machine as a "source book on steroids." In addition

to providing creatives with an eclectic selection o photographers rom around the world, Wonderul Machine aggressively promotes

those photographers using email campaigns, print mailers, web ads, social media, publicity, phone calls and portolio events.

Wonderul Machine also ofers member and non-member photographers a host o consulting services including help with estimates,

production, web design, photo editing and more. Teir staf members requently participate in industry events and contribute a popular

monthly column on pricing and negotiating to aphotoeditor.com. Wonderul Machine currently works with more than 600 photogra-

phers in 50 countries around the world.Website:

.

w.
http://www.wonderfulmachine.com/search/any/Tallebudgera+Valley%2C+Australia/mi/-28.135514/153.406288/1/http://www.aphotoeditor.com/http://www.billcramer.com/singles.htmlhttp://www.wonderfulmachine.com/search/any/Grosse+Pointe%2C+Michigan/mi/42.402327/-82.915412/1/http://www.wonderfulmachine.com/search/any/Grosse+Pointe%2C+Michigan/mi/42.402327/-82.915412/1/http://www.billcramer.com/singles.htmlhttp://www.aphotoeditor.com/http://www.wonderfulmachine.com/search/any/Tallebudgera+Valley%2C+Australia/mi/-28.135514/153.406288/1/


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check outPhotoshelter'slibrary of free photo businessand marketing guides

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