PRICING BREAKDOWN

A photographer’s fee typically has three components:

• Creative or production fee
• License fee
• Expenses

Unless there is reason to separate them, some photographers will quote an umbrella “creative fee” that includes both the production fee and the license fee. However, when several parties have agreed to share costs, they usually need to license different rights, and the production and license fees will generally be stated separately.

Creative fee. This component reflects the time and skill it takes to complete the assignment. Variables include the total number of views, scheduling and deadlines, site logistics and artistic considerations such as unique vantage points or special times of day. Intangible variables include the experience, creativity and vision that the photographer brings to the assignment.

Preproduction tasks may include client meetings, advance site visits, meetings with the facility’s management to organize access, conversations with building engineers to arrange technical coordination with lighting, landscape maintenance and other site-specific preparation. Postproduction tasks commonly include image editing and selection (which may involve more client meetings), digital processing (color correction, minor retouching, compositing), and preparing master files for final delivery. It is not unusual for the postproduction work to consume as much time as the photography.

License fee. This component (sometimes referred to as the usage fee) reflects the value of the authorized uses for the images. The value is determined by a number of considerations, including how widely and for how long the images will be viewed, reproduced and distributed. Typically, the more extensive the use, the higher the fee will be. See Licensing and Rights Granted section below for further explanation.

Expenses. If the job will require travel, specialized equipment, prop rentals, specific insurances, or fees for location access, these will all be indicated on the estimate. Likewise, the anticipated cost of hiring photo assistants, stylists and models will be part of the total. There may be some contingent costs, such as for weather delays.

Expenses for digital photography may include charges for image capture, digital processing, master file prep and postproduction tasks such as color manipulation and digital retouching, archiving and file delivery. For film photography, expenses typically include material charges for film, processing and supplies.

LICENSING AND RIGHTS GRANTED

A photograph, like an architectural design, is considered intellectual property. The photographer owns the copyright to the images he or she creates and has the exclusive right to license their use. Licensing agreements are specific with regard to use and should answer three basic questions:

• Who will use the images?
• How and where will the images appear?
• How long will the images be used?

This information may be detailed in the licenseing section of the estimate, or it may be supplied in a separate licensing agreement that grants specific rights to commissioning clients. If several parties agree to share in the cost of an assignment, the photographer will develop a separate licensing agreement for each individual client to cover the permissions and rights.

THE FINE PRINT

The estimate will have a space for your signature. By signing and returning a copy to the photographer, you indicate your acceptance of the assignment description, license and total price. At that point, the estimate becomes a contract.

Attached or on the back of the estimate will be a set of Terms and Conditions. As with any contract, one purpose is to agree on each party’s responsibilities if problems arise and how any disputes will be resolved. Another purpose is to state the industry norms. For photography, these include copyright, photo-credit requirements and what alterations (such as compositing) you can make to the images.

CONTROLLING THE COST OF A PHOTOGRAPHIC ASSIGNMENT

SHARE THE COST WITH OTHERS

You aren’t the only one who might benefit from photographs of a project. The owner, interior designers, landscape architects, contractors, consultants, product manufacturers, tenants and others probably have similar pride in the building and a similar need to market themselves. With some forethought, all may be served by a single photography assignment where the costs can be distributed equitably, to everyone’s advantage. Photographers who specialize in architectural work are quite familiar with such arrangements. If this is your plan, it is essential to let the photographer know about it before the initial estimate is prepared.

The production fees (the photographer’s professional time) and expenses (e.g., travel, consumables, props, rental equipment, assistants, models and stylists) are generally not affected by the number of parties unless their separate interests require different views or special setups. A sharing arrangement means these cost elements may be lower for each participant.

Each party will be charged a separate rights-license fee, which is based on the use he or she will make of the images. In addition, each participant will pay separately for any special deliverables, such as large-format prints, web galleries, or image files formatted and sized in different ways.

CONTRACTUAL FORMALITIES

After reviewing the assignment parameters, the photographer will provide a written estimate that states the terms of the cost-sharing agreement and names the primary commissioning client and other participating parties.

Alternatively, the photographer may draw up separate estimates for each of the parties. This relieves the commissioning client of any responsibility for collecting payment from the other participants. It also clarifies the cost-sharing details when different parties need different views. For instance, it’s unlikely that the interior designer will make much use of the exterior photography, while the architect probably has limited use for photos of the furniture in the lobby. Nevertheless, each of the parties will get the benefit of dividing the costs that are incurred in common.

A REAL-WORLD SCENARIO

Suppose that an owner, a contractor and an architect discuss a cost-sharing proposal for photography. Two of them agree, but the contractor decides not to participate. A few weeks later, however, he needs to print capability brochures and asks to use images from the shared photography session. Because he forfeited the option to license the images at the pre-negotiated license fee and terms, he is now in the same position as any outside party requesting use.

Photographers are usually willing to license images to third parties but typically charge these parties at least as much as the original group for several reasons, including different delivery requirements, deadlines and license terms. The photographer and the latecomer will have to negotiate new agreements from the ground up. From the photographer’s point of view, this is an inefficient way to do business. Multiparty licensing is cost-effective because it allows streamlined planning and preparation for photography.

In addition, the latecomer can choose from existing images—while the original group could anticipate only the outcome of the assignment they had commissioned. There is also the factor of simple fairness: If non-participants could get photography at the same cost as participants, the benefit of cost-sharing arrangements would be negated.

Clear communication among all participants is of prime importance, whether the photographer contracts only with the commissioning party (acting as liaison and collecting the other parties’ respective shares of the fees) or contracts with each party separately. The benefit can quickly be lost if the parties don’t share an understanding about goals, timelines and licensing rights.

KEY POINTS TO MULTIPLE PARTY LICENSING

• All participating parties must sign an agreement before photography begins.
• Each participant is charged a licensing fee commensurate with his or her specific usage needs.
• Each participant is responsible for ordering and paying for his or her individual deliverables.

PLAN AHEAD, ALLOW LEEWAY

Schedule photography well in advance and plan for some variability in the timing. Creating photography on a rush basis adds to the expense, while a relaxed schedule means that your photographer can work through any last-minute glitches without incurring extra expenses.

The weather, too, can be a factor. A tight schedule means that foul weather and other uncontrollable variables may become problems. In contrast, an extended schedule may provide the opportunity to highlight your design with dusk or night illumination, different people, moving vehicles and even a variety of changing seasonal elements.

Another aspect of planning for photography is ensuring the site is prepared before the assignment begins. Are the windows clean? Is all the construction equipment out of sight? Is electric power on? In a pinch, problems can sometimes be retouched away, but this adds to the postproduction time and can mean compromises in image quality. It’s usually easier and less expensive to prevent the problems while on site.

THE VALUE OF A PHOTO CREDIT

It is often argued that a photo credit, like a byline, has value to the photographer as a form of advertising. This is true in one sense: Its value depends on its prominence on the page. However, it’s not true that the credit can be used to negotiate down the license fee. Most photographers have already factored its value

into their fee structure. In this respect, photographers and architects have much in common. Architects like to see their firm’s name on the dedication placard, but they nevertheless expect to be paid for their design work. Professional photographers view a credit line in much the same way. A visible photo credit may improve the photographer’s chances of getting future work, but it’s not payment for the work that was completed.

COMMERCIAL ARCHITECTURAL PHOTOGRAPHY CHECKLIST

GENERAL CONSIDERATIONS

• Has the architect walked the site with the photographer?
• Who will be the architect’s representative during the assignment?
• What is the site contact name and number?
• Is security clearance required?
• Is there a security department that must be notified about the assignment?
• Is parking available for the photography crew?
• Are certificates of insurance required? Who needs to receive them?

PERSONNEL

Consider who should be present and who should not be present during the photography, and make sure that everyone is fully briefed on the roles he or she will be playing.

• Are the owner and the occupants expecting the photographer and crew?
• Do they understand the nature of the project and the duration of the photography?
• If models will be used, are they employees of the tenant or the architect?
• Do they understand what they may be required to do and to wear and how long they may be needed?
• Are model releases required? (This is especially important for children.)
• Who is responsible for meals and for supplying water, coffee and snacks?
• Will a memo be sent to employees or tenants regarding advance cleanup and the assignment date and time?
• Is any union permission required for photography?

INTERIOR PHOTOGRAPHY CHECKLIST

SITE ACCESS & SECURITY

• Where is the loading dock? Are there restricted hours?
• Will the photographer have total access or need keys to specific areas?
• Will the crew and equipment be able to get in or out after hours?
• Will a floor plan be provided?
• Will elevators be working?
• Does the photographer have access to ladders and dollies?
• Does the photographer have access to vacuum cleaners and cleaning supplies?
• Is there a cleaning crew in the space after hours? Can they and the photographer work around each other?
• Will the air-conditioning or heat be off during the assignment? Do special arrangements need to be made to keep the HVAC on or to turn it off?
• Will all alarms be off?
• Is there a secured place to store equipment during multiple-day assignments?
• What are the emergency phone numbers for assignments taking place during weekends or after hours?

ILLUMINATION

• Does the photographer need approval to adjust interior, exterior and ambient light?
• Is the lighting computer-controlled?
• Are the lights controlled by motion sensors?
• Is all lighting operational and are the bulbs consistent within areas?
• Will spare bulbs be available?
• Can lights be manually turned on and off from a circuit breaker?
• Will the photographer have access to the circuit box?
• Is a building engineer or an electrician available if required?
• Are there windows in the space? Is there a way to control ambient light?

FURNITURE & FIXTURES

• Do any decorations or signage need to be removed?
• Can desks be rearranged without permission?
• Will props or models be necessary?
• Does the photographer have permission/password access to turn on computer screens, television monitors and AV equipment? Must specific images be loaded into the devices in advance?

EXTERIOR PHOTOGRAPHY CHECKLIST

• Will a site plan be provided ahead of time?
• Is there any construction activity?
• Are there window washers on the building?
• Is any facility maintenance scheduled?
• Will the interior of the building be accessible to adjust window blinds and lights?
• Can customer or tenant parking be controlled?
• Will the Police Department be needed for parking or traffic control on public streets? Do any government authorities require that permits be obtained?

LANDSCAPING & SURROUNDINGS

• Is the landscaping complete and mature?
• Are there any fountains? Who can control them?
• Are there any computer-operated sprinkler systems, and can the photographer control them?
• Will the photographer have access to exterior lighting and signage?
• Are there any decorations, signs or banners that need to be removed?
• Are the lights controlled by timers or photo sensors? Can they be manually controlled?
• Has a client representative checked the site recently for dumpsters, scaffolding, window stickers, fences, debris, graffiti or snow markers?

ABOUT

ABOUT AIA

Since 1857, the AIA has represented the professional interests of America’s architects. As AIA members, over 83,500 licensed architects, emerging professionals, and allied partners express their commitment to excellence in design and livability in our nation’s buildings and communities. Members adhere to a code of ethics and professional conduct that assures the client, the public, and colleagues of an AIA-member architect’s dedication to the highest standards in professional practice.

The AIA website, www.aia.org, offers more information.

ABOUT ASMP

Founded in 1944, the American Society of Media Photographers (ASMP) is the leading trade association for photographers who create images primarily for publication. ASMP promotes photographers’ rights, educates photographers in better business practices, produces business publications for photographers, and helps buyers find professional photographers.

The ASMP website, www.asmp.org, offers more information.

ABOUT DIGITAL ART THAT ROCKS™

Digital Art That Rocks, LLC creates high end commercial photography, retouching, composite imagery & video for companies that understand & believe in the value of their visual identity in the marketplace.

Brian Rodgers Jr. (owner & founder of Digital Art That Rocks LLC) is an American Advertising Federation award winning commercial advertising photographer/digital artist based in Mishawaka, Indiana. Brian has generated a international audience both as a photographer and educator through his social media presence & online classroom DATR EDU. His work has also been published in national print and online media outlets including the cover of Photoshop User Magazine.

For more information or project inquiries:

Contact Brian at www.digitalartthatrocks.com/contact