A creative director is you!
February 10, 2011 7:41 AM Subscribe
I've been tasked with finding and hiring a professional freelance photographer for my company. I've never done this before, so I'd be grateful for some basic guidelines.
We want pictures taken of some of the execs, and of our work environment, to use in our marketing materials. The firm (which has ~500 people, but still has the feel of, and is often run like, a small company) had hired someone from our ad agency to take some photos a couple of years ago, but the pictures were terrible, and never used. The company doesn't have a formal marketing director, so somehow the job of pulling this off has fallen to me. I know what we paid the ad agency for those lousy pictures, and I know we'd like to stay in the same ballpark.
I've got a good idea of the look we're going for, and I've identified a couple of potential photographers to contact, but before I do so I want to make sure I know what to expect and what's expected of me. I'm avoiding the wedding photographers, and those who don't specifically have corporate-ish shots on their sites.
What are some good traits to look for in a photographer? Do freelance photographers typically bill hourly, or by the job? Is there any pricing guideline for purchasing the rights to the pictures (the company is in a major metropolitan city)? We'd be using the pictures on our website and our printed collateral, but for now the company doesn't do any print ads, and certainly nothing with national exposure. We have a very clearly defined, highly specific customer base that we target, not the general public.
I'd imagine that the photographer would want to come and scout our location before the actual shoot, correct? What will the photographer be expecting of me? What do I need to do to make everything go smoothly?
Any and all tips from people who have done this before, both as the creative director and as a photographer, would be much appreciated.
We want pictures taken of some of the execs, and of our work environment, to use in our marketing materials. The firm (which has ~500 people, but still has the feel of, and is often run like, a small company) had hired someone from our ad agency to take some photos a couple of years ago, but the pictures were terrible, and never used. The company doesn't have a formal marketing director, so somehow the job of pulling this off has fallen to me. I know what we paid the ad agency for those lousy pictures, and I know we'd like to stay in the same ballpark.
I've got a good idea of the look we're going for, and I've identified a couple of potential photographers to contact, but before I do so I want to make sure I know what to expect and what's expected of me. I'm avoiding the wedding photographers, and those who don't specifically have corporate-ish shots on their sites.
What are some good traits to look for in a photographer? Do freelance photographers typically bill hourly, or by the job? Is there any pricing guideline for purchasing the rights to the pictures (the company is in a major metropolitan city)? We'd be using the pictures on our website and our printed collateral, but for now the company doesn't do any print ads, and certainly nothing with national exposure. We have a very clearly defined, highly specific customer base that we target, not the general public.
I'd imagine that the photographer would want to come and scout our location before the actual shoot, correct? What will the photographer be expecting of me? What do I need to do to make everything go smoothly?
Any and all tips from people who have done this before, both as the creative director and as a photographer, would be much appreciated.
Best answer: Here’s what I do:
Start by checking out online portfolios – has the photographer taken similar style photos in the past?
Then send them a brief including:
1. The content of the shots - The clearer you are about the shots you need, the more likely you are to get them. Eg “Photos of the CEO should include tight headshots, ¾ shots with neutral background (for overlaying with text), contextual portraits showing office environment, all need to be both portrait and landscape.”
2. Format and delivery - eg Do you want copies of every single shot? Do you just want a tightly edited selection? Do you want them to do any post-production work on the photos? Do you want the photos on a DVD or physical contact sheets?
3. Ownership details – Ideally, you want to own these photos and use them for whatever you want with no extra charges. You should be able to find a photographer who is happy to agree to this.
Photographers I use tend to bill for the day or half day. Some quote an all-in price, others will add on all kinds of things like travel expenses, burning the DVD etc. Be clear about what is included in their rate.
A good photographer won’t need to scout the location. If you tell them to arrive an hour or two before the first shoot is scheduled, that should be plenty of time.
On the day, a good shoot will be a collaboration between a photographer and the client. You should definitely bring your own creative ideas, as well as asking the photographer for theirs. Remember that you're paying the bill, so in this age of digital, it's completely ok to ask the photographer "Can I see what you're getting?" if you've got any worries. (Obviously not 100 times, but it's ok to reassure yourself that yes, you do have a great shot of your CEO.) Good luck!
posted by sleepy boy at 9:48 AM on February 10, 2011
Start by checking out online portfolios – has the photographer taken similar style photos in the past?
Then send them a brief including:
1. The content of the shots - The clearer you are about the shots you need, the more likely you are to get them. Eg “Photos of the CEO should include tight headshots, ¾ shots with neutral background (for overlaying with text), contextual portraits showing office environment, all need to be both portrait and landscape.”
2. Format and delivery - eg Do you want copies of every single shot? Do you just want a tightly edited selection? Do you want them to do any post-production work on the photos? Do you want the photos on a DVD or physical contact sheets?
3. Ownership details – Ideally, you want to own these photos and use them for whatever you want with no extra charges. You should be able to find a photographer who is happy to agree to this.
Photographers I use tend to bill for the day or half day. Some quote an all-in price, others will add on all kinds of things like travel expenses, burning the DVD etc. Be clear about what is included in their rate.
A good photographer won’t need to scout the location. If you tell them to arrive an hour or two before the first shoot is scheduled, that should be plenty of time.
On the day, a good shoot will be a collaboration between a photographer and the client. You should definitely bring your own creative ideas, as well as asking the photographer for theirs. Remember that you're paying the bill, so in this age of digital, it's completely ok to ask the photographer "Can I see what you're getting?" if you've got any worries. (Obviously not 100 times, but it's ok to reassure yourself that yes, you do have a great shot of your CEO.) Good luck!
posted by sleepy boy at 9:48 AM on February 10, 2011
Best answer: Creating corporate headshots and photographing interiors are different skills. In the past when I've needed to hire someone who was capable of doing both well, I focused my attention on their headshot portfolio first and foremost. People tend to be harder than spaces.
Also, event photographers (not weddings, but corporate events) often can wear both hats quite effectively -- they're used to photographing people and spaces, which is what you need.
We've located good headshot and event photographers through agencies, their websites and by calling local newspaper photo desks (or magazine photo departments) and (as circular mentions above) local design firms and asking for referrals. Newspapers and magazines are great resources for referrals -- they usually have a rolodex roster of solid, hardworking freelancer photographers they can turn to for various purposes. If you're in a town with an Associated Press (or Reuters) bureau, their photo desk may also be able to refer you to someone.
What to look for:
In the headshots: Look at the lighting and make sure it's flattering. Avoid harsh shadows and over-softness. Skin tone should look natural. The images should look untouched / not photoedited. Look closely at the subject's hair. Is it neat, with no visible flyaways or other problems? These are all signs the photographer pays close attention to details -- either in the editing room or on location.
At events:
Subjects are clearly in focus. No blurriness. Background isn't too distracting (ymmv). Focus of each image is where it's supposed to be. If something is obviously out of place, (say, a bra strap is showing inappropriately) think about whether the photographer should have corrected it before snapping the shot.
Do freelance photographers typically bill hourly, or by the job?
Negotiable. For something like this, probably by the half-day or day. Have them give you a quote for the entire job, perhaps broken down by project category (headshots/interiors, etc.) They will probably come back to you and say it's going to cost X amount at Y number of days of work. See below for things you should know before calling them.
Is there any pricing guideline for purchasing the rights to the pictures (the company is in a major metropolitan city)? We'd be using the pictures on our website and our printed collateral, but for now the company doesn't do any print ads, and certainly nothing with national exposure. We have a very clearly defined, highly specific customer base that we target, not the general public.
You want to own the shots outright. This will usually cost more up front but may save you money in the long run. This prevents you from having to negotiate past extra costs.
Cheaper route: get usage rights, which vary in cost from photographer to photographer, by location and often by quantity. If you go the usage rights route, you want non-expiring rights to use the photos for internal and external marketing purposes, in print and online. You're not asking for rights to use them in print or television broadcast advertisements. Your contract can specify that if those rights are needed, they will be negotiated on a per-photo basis at $X per photo. This will prevent you from paying through the nose for every shot.
I'd imagine that the photographer would want to come and scout our location before the actual shoot, correct?
Not necessary. They will probably need to arrive an hour or more before the shoot to scout/review location.
What will the photographer be expecting of me? What do I need to do to make everything go smoothly?
Things you need to know before calling:
* Projected date(s) of shoot.
* Know how many people will need to be photographed in advance.
* Will they be photographed individually or in groups?
* Are these going to be tightly cropped headshots or 3/4 length shots.
* Will they want to be photographed at their desks or in specific locations within the company?
Possible extra costs:
* Processing / Conversion for digital files
* Touchups / Photoediting
* Proofs (usually done online on photographer's website)
* DVDs containing images
* Travel
* Assistant (depending on the job this usually isn't necessary.)
Very important: photographer should shoot digitally, and allow you to review at least a small number of shots on their camera at first, so you can make sure they're getting the type of shots and framing you want. On preview, exactly what sleepy boy said. :)
posted by zarq at 10:06 AM on February 10, 2011
Also, event photographers (not weddings, but corporate events) often can wear both hats quite effectively -- they're used to photographing people and spaces, which is what you need.
We've located good headshot and event photographers through agencies, their websites and by calling local newspaper photo desks (or magazine photo departments) and (as circular mentions above) local design firms and asking for referrals. Newspapers and magazines are great resources for referrals -- they usually have a rolodex roster of solid, hardworking freelancer photographers they can turn to for various purposes. If you're in a town with an Associated Press (or Reuters) bureau, their photo desk may also be able to refer you to someone.
What to look for:
In the headshots: Look at the lighting and make sure it's flattering. Avoid harsh shadows and over-softness. Skin tone should look natural. The images should look untouched / not photoedited. Look closely at the subject's hair. Is it neat, with no visible flyaways or other problems? These are all signs the photographer pays close attention to details -- either in the editing room or on location.
At events:
Subjects are clearly in focus. No blurriness. Background isn't too distracting (ymmv). Focus of each image is where it's supposed to be. If something is obviously out of place, (say, a bra strap is showing inappropriately) think about whether the photographer should have corrected it before snapping the shot.
Do freelance photographers typically bill hourly, or by the job?
Negotiable. For something like this, probably by the half-day or day. Have them give you a quote for the entire job, perhaps broken down by project category (headshots/interiors, etc.) They will probably come back to you and say it's going to cost X amount at Y number of days of work. See below for things you should know before calling them.
Is there any pricing guideline for purchasing the rights to the pictures (the company is in a major metropolitan city)? We'd be using the pictures on our website and our printed collateral, but for now the company doesn't do any print ads, and certainly nothing with national exposure. We have a very clearly defined, highly specific customer base that we target, not the general public.
You want to own the shots outright. This will usually cost more up front but may save you money in the long run. This prevents you from having to negotiate past extra costs.
Cheaper route: get usage rights, which vary in cost from photographer to photographer, by location and often by quantity. If you go the usage rights route, you want non-expiring rights to use the photos for internal and external marketing purposes, in print and online. You're not asking for rights to use them in print or television broadcast advertisements. Your contract can specify that if those rights are needed, they will be negotiated on a per-photo basis at $X per photo. This will prevent you from paying through the nose for every shot.
I'd imagine that the photographer would want to come and scout our location before the actual shoot, correct?
Not necessary. They will probably need to arrive an hour or more before the shoot to scout/review location.
What will the photographer be expecting of me? What do I need to do to make everything go smoothly?
Things you need to know before calling:
* Projected date(s) of shoot.
* Know how many people will need to be photographed in advance.
* Will they be photographed individually or in groups?
* Are these going to be tightly cropped headshots or 3/4 length shots.
* Will they want to be photographed at their desks or in specific locations within the company?
Possible extra costs:
* Processing / Conversion for digital files
* Touchups / Photoediting
* Proofs (usually done online on photographer's website)
* DVDs containing images
* Travel
* Assistant (depending on the job this usually isn't necessary.)
Very important: photographer should shoot digitally, and allow you to review at least a small number of shots on their camera at first, so you can make sure they're getting the type of shots and framing you want. On preview, exactly what sleepy boy said. :)
posted by zarq at 10:06 AM on February 10, 2011
magazine photo departments
Yep—just to reiterate, I bet your local city or regional magazine's art director or production manager would have some good suggestions for a local photographer, esp. if you give them a rough price range you're looking to stay within.
posted by limeonaire at 11:27 AM on February 10, 2011
Yep—just to reiterate, I bet your local city or regional magazine's art director or production manager would have some good suggestions for a local photographer, esp. if you give them a rough price range you're looking to stay within.
posted by limeonaire at 11:27 AM on February 10, 2011
Best answer: As a photographer I encounter good folks like you a lot.
You've gotten excellent advice so far, especially from zarq and sleepy boy. I would add the following, from my perspective:
I have no problem showing an art director images on the camera's LCD early on during a shoot. However, I hate doing this with any frequency, and I really hate doing it when the photo subject is encouraged to take a look. Looking at photos this way is absolutely the worst was to view pictures ever, especially if the photographer is shooting raw files and plans to optimize them after the fact back at his or her office. If you don't trust the photographer enough to do the job you want, you've hired the wrong photographer. Also, it frequently disrupts the flow of the shoot.
If you're after a certain look or style, the more examples you can give me prior to the shoot, the better. However, if the examples you give me reflect a variety of looks or styles, you're not helping either of us.
If you're interested in me from viewing my online portfolio, it's helpful that I know which shots you like. If any of them reflect the specific style you like, please cite those specifically.
Especially these days, you'll find tons of different pricing mechanisms in use by photographers. Please make a a point to ask about post-production charges. If you're after a specific style, note that creating it is not usually simply a matter of running a Photoshop action on a folder of files, and that it may involve considerable time on the part of the photographer. The photographer is completely justified in billing you for that time, but you should know this up front.
As a professional event planner friend of mine always says, don't even consider anybody who isn't 100% reliable, and who hasn't been in the trenches for a while. I would never be insulted if I were asked to provide references. There are photographers out there who consider themselves "artistes" who may produce brilliant work, but are simply miserable to work with. I know this because I've heard more than a few horror stories from my clients.
If I'm going to be shooting small groups against a 9 foot wide backdrop, a 15 foot wide conference room with a massive table in the center isn't going to cut it, space-wise. Until I get lights up, etc., I need way more space than that. And that table is going to have to go, or we're going to need another space.
If the people who're going to be photographed are not used to this kind of thing, you need to let them know that this isn't going to be some kind of deal where I'll walk in with a camera and a flash and blow off a couple of shots in three minutes and be out of there. I can work that way if you want, but I'll definitely be an intrusion, despite our efforts to minimize that.
Ascertain a delivery schedule for the completed work. Have no patience with the photographer who can't meet it.
Lastly, if any of the male execs have rapid whisker growth, either shoot them first thing in the morning or have them bring a razor to work on the shoot day.
posted by imjustsaying at 3:26 PM on February 10, 2011 [1 favorite]
You've gotten excellent advice so far, especially from zarq and sleepy boy. I would add the following, from my perspective:
I have no problem showing an art director images on the camera's LCD early on during a shoot. However, I hate doing this with any frequency, and I really hate doing it when the photo subject is encouraged to take a look. Looking at photos this way is absolutely the worst was to view pictures ever, especially if the photographer is shooting raw files and plans to optimize them after the fact back at his or her office. If you don't trust the photographer enough to do the job you want, you've hired the wrong photographer. Also, it frequently disrupts the flow of the shoot.
If you're after a certain look or style, the more examples you can give me prior to the shoot, the better. However, if the examples you give me reflect a variety of looks or styles, you're not helping either of us.
If you're interested in me from viewing my online portfolio, it's helpful that I know which shots you like. If any of them reflect the specific style you like, please cite those specifically.
Especially these days, you'll find tons of different pricing mechanisms in use by photographers. Please make a a point to ask about post-production charges. If you're after a specific style, note that creating it is not usually simply a matter of running a Photoshop action on a folder of files, and that it may involve considerable time on the part of the photographer. The photographer is completely justified in billing you for that time, but you should know this up front.
As a professional event planner friend of mine always says, don't even consider anybody who isn't 100% reliable, and who hasn't been in the trenches for a while. I would never be insulted if I were asked to provide references. There are photographers out there who consider themselves "artistes" who may produce brilliant work, but are simply miserable to work with. I know this because I've heard more than a few horror stories from my clients.
If I'm going to be shooting small groups against a 9 foot wide backdrop, a 15 foot wide conference room with a massive table in the center isn't going to cut it, space-wise. Until I get lights up, etc., I need way more space than that. And that table is going to have to go, or we're going to need another space.
If the people who're going to be photographed are not used to this kind of thing, you need to let them know that this isn't going to be some kind of deal where I'll walk in with a camera and a flash and blow off a couple of shots in three minutes and be out of there. I can work that way if you want, but I'll definitely be an intrusion, despite our efforts to minimize that.
Ascertain a delivery schedule for the completed work. Have no patience with the photographer who can't meet it.
Lastly, if any of the male execs have rapid whisker growth, either shoot them first thing in the morning or have them bring a razor to work on the shoot day.
posted by imjustsaying at 3:26 PM on February 10, 2011 [1 favorite]
One last thing...
Unless you have the photographer sign a legally enforceable "work for hire" contract, you won't "own" the photos. You may have them on a disk or on your server, but the photographer will retain the copyright.
There's a big difference in my pricing for granting unlimited and exclusive commercial usage rights to a client and signing off on a work for hire agreement which essentially transfers copyright to the client.
If in a brief moment of temporary insanity I sign of on WFH agreement, I can't even exhibit the pictures in my portfolio or claim them as my original creations.
...which is why I've signed a total of three of these in the last 35 years, and have been paid very, very well on those occasions.
posted by imjustsaying at 3:43 PM on February 10, 2011 [1 favorite]
Unless you have the photographer sign a legally enforceable "work for hire" contract, you won't "own" the photos. You may have them on a disk or on your server, but the photographer will retain the copyright.
There's a big difference in my pricing for granting unlimited and exclusive commercial usage rights to a client and signing off on a work for hire agreement which essentially transfers copyright to the client.
If in a brief moment of temporary insanity I sign of on WFH agreement, I can't even exhibit the pictures in my portfolio or claim them as my original creations.
...which is why I've signed a total of three of these in the last 35 years, and have been paid very, very well on those occasions.
posted by imjustsaying at 3:43 PM on February 10, 2011 [1 favorite]
imjustsaying: " There's a big difference in my pricing for granting unlimited and exclusive commercial usage rights to a client and signing off on a work for hire agreement which essentially transfers copyright to the client."
Thank you for clarifying this so well. I really didn't explain it properly.
Also, that tip on shooting men with rapid beard growth early is brilliant. I'll have to keep that in mind in the future. :)
posted by zarq at 3:51 PM on February 10, 2011
Thank you for clarifying this so well. I really didn't explain it properly.
Also, that tip on shooting men with rapid beard growth early is brilliant. I'll have to keep that in mind in the future. :)
posted by zarq at 3:51 PM on February 10, 2011
Response by poster: Thanks so much for the answers, everyone. They've been tremendously helpful. I'm still worried about the bottom line; during a conversation with one of the photographers, he mentioned that exclusive usage rights can run pretty steep, as in $10,000 - $20,000 per picture. Which gave me a small stroke. A later conversation, however, was a little more productive, especially when I told him that those numbers were well beyond what we were thinking.
tl;dr: in talks now, I'm remaining cautiously optimistic that it will all work out just fine, and I feel significantly better prepared than before.
posted by shiu mai baby at 7:43 AM on February 15, 2011
tl;dr: in talks now, I'm remaining cautiously optimistic that it will all work out just fine, and I feel significantly better prepared than before.
posted by shiu mai baby at 7:43 AM on February 15, 2011
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posted by circular at 8:36 AM on February 10, 2011