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Concept: Portraiture and Still Life Images for Cosmetics Brand
Licensing: Unlimited use of all images captured for one year
Photographer: Beauty and Still Life specialist
Client: Cosmetics brand
I recently worked with a photographer to help them develop an estimate for a campaign promoting a cosmetic brand’s new product. The brand wanted still life images as well as images of the product in use by professional talent in a studio setting. Initially, we discussed a few creative setups that required some prop styling. Ultimately, however, at the time of creating the estimate, we considered these ideas to be a work in progress when compared to minimalist shots against a white background.
The client initially presented a shot list that included eight main shots. One of the shots was identified as a key visual while the others were considered supplemental. Although they requested unlimited use of all images, they were willing to limit the duration to one year.
I felt the key visual was worth $5,000, images 2-3 were worth $2,500 each, and the others worth $1,000, totaling $15,000. I had wanted to include an additional few thousand dollars as a creative fee. We understood, however, that we might be pushing the limits on the fee as it was. Ultimately, my goal was to keep the bottom line in check and stay under $50k total.
The agency, surprisingly, asked us to include a licensing option specifically for 110% of the one-year rate to include a pre-negotiated rate for a second year. In most cases, when pre-negotiating a duration extension, I’m accustomed to a request for a reduced rate compared to the original fee. I clarified this request on a call with the agency art producer. Sure enough, they explained that they’d be willing to pay 110% for an additional year, so I included that cost for the licensing and for the talent.
In addition, the client requested we present a firm bid, rather than an estimate. I noted this at the top of the document. In this scenario, the photographer keeps any unused funds if the cost of the production is less than anticipated. This also means, however, that they would need to cover any overages if expenses were higher than anticipated. Overall, we were very confident in these fees/expenses based on the working relationships with the specific crew members, styling team, casting director, talent agents, and locations we anticipated working with.
Although the production was rather straightforward, we included a strong team to help quickly execute the vision. To that end, we added a producer, first assistant, second assistant, digital tech, and production assistant, all at rates appropriate for the specific market.
The creative brief definitively called for a prop stylist to create a few background elements and manage the products. The photographer already had a local stylist they wanted to work with. We included rates we received from them, which included their prep, shoot and wrap time. There was a need for very minor wardrobe styling, and this prop stylist was able to take on both roles. Separately, we detailed the anticipated prop and wardrobe costs, along with their kit fees and miscellaneous expenses potentially incurred in the process of acquiring all of the necessary items. We included a hair/makeup stylist and, as there were a few shots that involved close-ups of the talent’s hands holding the products, we also included a manicurist.
I included a rate received from a casting agent to help us find one subject based on the talent specs provided by the agency. The agency planned to pay the talent directly, but I discussed an appropriate talent fee with the agency producer. I noted this in the line item without having that line item impact our bottom line since the billings would go through the agency.
We included $2,500, which would allow us to afford a generously sized studio in this particular market.
We included appropriate rates for the rentals the photographer would need in order to execute the creative vision. In addition, we also included fees for the digitech’s workstation as well as production supplies to make everyone comfortable on set.
I based this on $80 per person for 19 people, which included breakfast and lunch.
I added $500 to cover any unforeseen expenses. We also noted a fee for insurance, which the agency specifically asked that we include. I often calculate insurance fees based on 1-2% of the bottom line.
We just included a fee for the photographer to perform an initial edit of the photos and help make selects because the agency would handle retouching. As a separate fee, we included a line for hard drives, delivery, and archiving.
The photographer won the project. Shortly after, however, the shoot was postponed, and then quickly brought back to life with an increased scope that included two talent. This increased the shot list in addition to production expenses. As a result, we increased the creative/licensing fees by 50%, added a producer pre-production day to handle the changes, increased wardrobe, added another manicurist, added a hair/makeup stylist assistant, and increased casting and talent. We also were asked to include some extra equipment to help facilitate remote viewing by a few clients who would be unable to attend the shoot in person. Here is the final estimate, which was approved:
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Specialty: Still Life/Product Photography
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