You probably already work with photographers you trust. If you’re looking for one more, or hiring for the first time, this is what I’d want to know from the client side, and what I’d tell you from mine. I’ve been photographing for businesses over the past decade, and I’ve run marketing in house, so I’ve sat on both ends of the brief.
Questions to ask a photographer
Start with the work. ASMP’s guide for clients suggests looking at a photographer’s site, asking for samples, and asking to see photos from jobs similar in scope to yours. Commercial photographers often specialize, so match what you need to what they’re good at.
Then ask these.
- Who owns the photos when we’re done, and what do you keep?
- What do I get back, in what format, and by when?
- Can my team or agency crop, retouch and pass the files on?
- What do you need from me before the day?
- What happens if something goes wrong on the day?
- How is the quote built, and what’s not in it?
ASMP also says the right photographer should understand your design ideas and be able to put them into pictures.
What to send
A brief. One page that says what the photos are for, where they’ll run, the date, the place, the hours and who’s in them. The first thing I want to know is what the photos are for. The photo shoot brief builder makes one you can send to anyone.
Closer to the day, the shot list and the schedule, so I know exactly what’s happening and when. The call sheet builder puts the day on one page, and the crops and deliverables planner sorts out which shapes each photo needs to come in.
Usage and ownership
The US Copyright Office says the person who takes the photo is generally its first copyright owner, from the moment it’s taken, unless it’s a work made for hire. ASMP’s guide adds that the photographer licenses its use. That’s why you ask. Usage rights explained goes through media, term, territory, exclusivity and buyouts.
How I do it: the photos are yours. The only thing I keep is the right to show the work in my portfolio, and I ask for it in the contract. If you need a time limit or exclusivity, I’m happy to talk it through and I’m not going to make it complicated. It’s a 100% handoff, so your team, your agency and your other vendors can crop, retouch and pass the images along. I don’t hand over RAW files as a practice, but it depends on the engagement.
Timeline
Book once you have a date and a place. With me the paperwork that holds a date is case by case, settled at booking. Permits are yours to arrange, and lead times differ by office, so check who to call for permits early. If you still need a space or a crew, there are roundups of photo studios for rent, camera and lighting rental, hair and makeup, location scouts, casting and talent and print labs and framers. The production day checklist covers the rest.
The day
I plan the day the day before and set up a chat or text group with you and anyone who needs photos during the day. When I arrive depends on the setup, and the call sheet sets it. Weather is case by case, and we talk it through before the day. Standard shots first, then the creative frames. There’s a second camera in the bag, and every frame writes to both cards. If I were too sick to work, I have a network of photographers in the area I can call.
Files
A private gallery at full resolution, usually in one to two weeks. Same-day highlights are something I do when a client asks, so say so up front. For commercial work I photograph the Hasselblad a little wide in the frame, which gives your team room to work with in post.
How a quote is shaped
ASMP breaks an estimate into three parts: a description of the job, the rights granted, and the fees and expenses. Expenses depend on the job and can include assistants, stylists, models, rentals, travel and location access.
Mine is shaped by time on site. Two hours is the minimum, then a half day or a full day, with one photographer. A second photographer comes in when more than one main stage is running at once. Inside the DC metro there’s no travel line. Beyond it, travel is set in the contract. Rush delivery is an option if you need the gallery sooner.
I’ve seen too many people nickel and dime over small things, which is why I’m priced the way I am.
If the work is ongoing, see how to plan a monthly content day, the content day shot list builder and monthly content photography. For agency work, here’s how I work with agencies.
Do I need a buyout?
ASMP says full ownership is rarely needed. With me you don’t need one, because the photos are yours.
Do I have to credit you?
No. I’m not after credit.
Can you work to our brief and shot list?
Yes. Send them as early as you can, and tell me what the photos are for.
Do you bring video?
I have a good network of video and audio folks, and if you need that I can certainly explore it with you.
Sources
General information only. Read these for the details.
