Pixiq

Okay, you want to start your own photo business. But you find the competition is both stiff and inexpensive. The time and the costs involved are serious. Your ability to price your time fairly is difficult, and you may often have no idea how much time is needed to do the assignment! Why-oh-why would anyone want to do this?

In the first (and most important) place, it’s fun! And while some photographers may think their camera is “the coolness,” in actuality, taking pictures is. And, lest I forget, I don’t mind working from 8 am to midnight as long as the boss pushing me to do it is me! These are very powerful reasons to want to be a photographer. The very first wedding photographer I ever assisted called me a name roughly equivalent to “idiot” (only worse) when I said I wanted to be a wedding photographer. But later I realized that if he was right, and I was an idiot, then he was an idiot too, and if he could be one, I certainly could be one! I’ll leave you to decide whether it is indeed an idiotic choice for a livelihood or not, but let me offer some suggestions to help your professional life! Some will be one-liners, some will be anecdotal, and some might be voluminous, but the more of them you live by the better your chances of success. Consider them to be spinach (or broccoli, or cauliflower, or any vegetable you hate)—hard to swallow, but in the end you’ll be healthier and stronger.

1. Learn what things cost and how much you will need to charge.

Be very aware of all the hidden costs in everything you do. Case in point: I just picked up a new digital camera. The camera sells for $1,799, but by the time I added in shipping and sales tax, the price was roughly $1,975. Then I had to upgrade to the latest version of Photoshop to be able to convert (heck, just to open and see) the camera’s RAW files; the upgrade cost was $200. Adding this camera to my insurance policy (all peril, worldwide) costs about $30 per year, so over a three-year life, the insurance tab will be $90.

My $1,800 camera just cost me closer to $2,265 and it’ll probably last me two to three years. That means that over three years, it’ll cost me about $60 per month.

But wait! I don’t need one camera…I need two! If you don’t believe me, just wait until the day your single camera breaks down. As a pro, I can tell you that no camera means no money, so there’s no such thing as not having a backup. And please ignore the argument that your backup camera can be of a lesser or older vintage. Imagine you’re driving a road race in a Ferrari; now make believe it breaks down and your pit boss puts you in your backup vehicle: a pickup truck! Worse still, imagine it’s a 1950’s pickup truck. You lose. Seriously though, it adds to the difficulty of doing great portraits to work with a slow, low-resolution camera if you’re used to a fast, high-resolution one. Okay, so the two new cameras will cost me $120 per month. At first, I really wanted the higher-grade model of the camera, but for me to buy two of them, after sales tax, shipping, insurance, and software upgrades, the total would have been approximately $11,000, thus costing me about $300 a month! If I were a well-heeled hobbyist or a retiree on a big pension, then it would be fine doing that— but I’m not! I’m a businessperson first, and for my assignments the less expensive model is just fine. Plus, I am mollified by the fact that the less expensive model is lighter and smaller because I lug my cameras and supporting gear day after day. I don’t have the luxury of saying I’m tired today so I won’t shoot any pictures. The main point is this: Consider all of your costs, and be sure to compare them to what your needs, and not your desires, really are. The following suggestions will help you start figuring out a budget.

Keep a Log

Buy a little spiral notebook and start to keep two logs on every assignment. First, a time log: How long does it take to book the job, type up the contract, scout the location, drive to and from the location (each time, if multiple trips), shoot the job, do your post-production, deliver the files, and send out the bill. Next up is an expense log: List everything you spend out of pocket money on—everything! Mileage at $0.65 per mile (check the IRS website for updates to standard business mileage as gas prices climb), tolls, parking, paying your assistant, buying coffee for your assistant, DVDs, DVD cases, postage, envelopes, paper, everything! Don’t worry, you won’t have to do this forever, because soon enough you’ll get an idea of what it costs you in time and money to produce a day’s (or a half day’s) work.

Make a List

Make a list of every yearly expense you have. Your car, saving for a new car, rent, insurance (car, liability, equipment, medical, dental, disability), telephone, internet connection, office supplies, camera repairs, new (or more) camera equipment, clothes, clothes cleaning, laundry, soap, toilet paper, food, a beer or two, a vacation, saving for retirement, saving for an emergency, saving for a down payment on a house, taxes, everything! Don’t worry if it takes a year or so to fill in all the blanks; you’re in this for the long haul. Just make a list and keep updating it. It’s the only way to know how much money you need to make in order to earn a living.

Plan for Technology’s Life Span

Choose a life span for your computer and camera gear. Two years? That’s a bit short. Four years? That’s a bit long. Maybe three years is realistic. Take the cost of your camera, computer, software, card readers, external hard drives (I fill three mirror-image TB drives every 13 months or so), and all other digital stuff and divide it by three; that’s what “the coolness” of technology costs you per year.

Plan Your Year

Figure out how many days a year you can actually shoot. Personally, I don’t think you can shoot professionally for more than a 100 or 150 days a year, and getting to the 150 mark is tough—really tough. Don’t believe me? Check this out: For every shooting day you’ll need a day of pre-production and a day of post-production. Even if you shoot clean as a whistle (as I suggest), you’ll still need (to name but a few) time to book the assignment, write the contract, download and archive your work, get the work to your client, bill them, and collect your money – everything takes time. So 100 shooting days will take you roughly 300 workdays to accomplish. Adding in one day off a week and taking a two-week vacation just brought you to 365 days. The way to get to 150 days a year, the saving grace so to speak, is that sometimes you’ll get a three-day or a two-week assignment; in those instances, the one day of pre- and one day of post-production for each day of shooting doesn’t apply as it does on a single day shoot. Often you can “pre and post” a two-week assignment in four days, so this type of assignment is a plum! Regardless, take the total of all your yearly expenses added to your daily assignment expenses multiplied by 100 (for 100 days shooting per year) and then divide the combined total by 100 (again, for 100 days shooting per year). The result will be what you have to charge on each day you’re shooting. Be realistic, be fair, but don’t cheat yourself!

Don’t Expect Overnight Success

Realistically speaking, there is no way you’re going to hang out a shingle today and have 100 assignments tomorrow. Some pundits will suggest that you assist other established photographers to learn the ropes, but honestly, in rural areas and places without high population density, many established photographers shy away from hiring young photographers whose only goal is to become their competition. However, while it doesn’t hurt to ask, and you can start off this way, don’t expect to be welcomed with open arms if you walk in with the attitude that you’re looking for a job as a photographer when you have no experience in the real world. Probably the worst thing you can do is to think that having $4,000 dollars to spend on a D-SLR, a lens, and an auto flash makes you a professional. That’s a huge turn off to anyone who has spent years in the trenches establishing themselves, so consider being humble instead. Additionally, consider looking for part-time work in fields related to being a photographer, such as working in a camera store, photo lab, or even a custom frame shop as you grow your own client list. We live in an era when everyone wants instant gratification; we want it now or, better still, yesterday, but a career in photography can span 40 or more years so it makes more sense to not expect or demand overnight success. Things that come too easily aren’t worth as much anyway!

2. Plan for the future.

The most important thing about any assignment is getting the next one. Always try to look ahead. Treat today’s client as if they are the most important person in your world, but remember that tomorrow’s client gets the same treatment on his or her day. You’re going to make mistakes; learn from them, but don’t dwell on them—get the next assignment!

Cater to the Right Clients

Locate and cater to the local carriage trade. What’s the carriage trade, you ask? Before cars existed most people walked to where they had to go. The rich people, the ones you would have wanted as clients, rode in carriages! Develop ways to cater to this class; often, different forms of advertising help. Photo below (c) Louise Botticelli.

Advertise

First, a confession: I’m not a big fan of websites. Every photographer has one, and secondly, why should I care about having everyone on the planet know about me when I’m only interested in 100 assignments a year? If you can afford one or make it yourself, great; they are certainly one useful marketing tool in your bigger toolbox. But if you can’t afford one yet, don’t think you can’t start a business without it. You could also consider using some of the portfolio websites out there that you can join and post your work on for free or for a small annual fee. These will help get your work out in front of potential new clients when you’re first starting out.

Although I live in a large metropolitan area, I have used local, targeted mailings to pinpoint potential clients. Search “mailing lists” online, but not before you find out which of your local zip codes are the wealthiest neighborhoods. I send holiday cards to everyone (figuratively speaking) and gifts to important clients. Every time I shoot a portrait that knocks me out, I email copies to my clients and friends, but only after asking if it’s okay before I do it. If there’s a nearby mall catering to the carriage trade, find out about renting wall space and putting up a display with a nice printed card explaining your style. But never discuss price on a giveaway and always have someone check your spelling and grammar. This chasing after work doesn’t have to go on forever. I very rarely show my portfolio and my sample books anymore. At this point in my career, most of my clients are repeat customers and new customers know what I can do before they call me. This is not said to be boastful, but instead, think of it as proof that all of the suggestions made here really work! It’s also an example of the best form of advertising out there: word of mouth. If you’re professional and talented, you’ll soon see this gets you more business than anything else. It should also be a reminder to treat every client as if they were the most important person in your world, no matter how small the job. You never know what may come of it down the road.

3. Keep your overhead low.

You don’t need to carry the expense of a large, fancy studio until you have the work to support it. Every dollar, every penny you save on overhead goes into your pocket as more profit. The goal at the end of a long and fruitful career is to have enough bucks socked away that you can go out and shoot sunsets (or whatever) till the cows come home if you care to. Keeping your costs low in the beginning will also increase your chances of making it in this business. The first few years will most likely be the hardest financially, so keep this in mind every time you think you “need” something, be it a piece of equipment or anything else. Only spend on the items necessary to successfully run your business. And as your business grows, so too can the expenses that support your trade.

4. Become a pack rat!

For a long time I shared a studio in New York City that was the entire floor of a loft building. The floor was 30 feet (9 m) wide by 100 feet (30.5 m) long. The back 30 feet (9 m) of the space was filled with metal shelving that was filled with props. If you are interested in portraiture, start saving props. Hats, pieces of velvet, painted muslins, costume jewelry, foam moons, painted muslins, and artificial flowers—almost anything can be a prop. Bag the items in large, labeled trash bags so they don’t become dusty, ratty, and ruined. Having a variety of props available will add to the perceived value your client can see, and you never know when your little girl portrait subject needs a hat to make the perfect portrait!

5. Use a professional lab.

Consider using a professional lab to print your photographs instead of doing it yourself. In the first place, it’ll be cheaper. Second, they will probably do it better than you; after all, a great printer does his or her job 40 hours a week, whereas you are taking pictures for a good portion of your time. Why should you carry the overhead (in cost and time) of printing your own work when you can have someone else do it better? If you do have a problem with quality, a good lab will have suggestions, so ask them how you can improve the files you give them to get what you want. In the long run, this approach will make you a beloved customer and when you need something in a hurry or need them to jump through a hoop for you, they will. But don’t ask for things in a hurry when it’s not necessary. Nobody liked the boy who cried wolf, and they’ll be far less willing to help when you really do need it.

6. Don’t undervalue your work.

I can get a great 8 x 10 (20.3 x 25.4 cm) print for $2.50 from my lab. I charge my clients $25 for an 8 x 10 (20.3 x 25.4 cm) wedding print, while the same 8 x 10 (20.3 x 25.4 cm) is $60 when taken at a portrait session. The reasoning behind this is simple. While a print in a wedding album is looked at briefly before the page is turned, a portrait print is a stand-alone item that is examined much more carefully. Because of this your goal is perfection, and working a file to perfection in Photoshop takes more time (especially if you haven’t shot clean). Someone, namely your client, has to pay the freight for that perfection. Some clients try and tell me that my price for an 8 x 10 (20.3 x 25.4 cm) is outrageous; they claim it’s only a piece of paper. Sadly, some would-be pros may feel the same way. But the point always worth remembering is that you’re not selling a piece of paper—you’re selling what you put on the piece of paper (and all of the time, equipment, and expertise needed to produce it). In truth, when a client gives me the “only a piece of paper” speech, I always respond that they are right and I will sell them all of the pieces of blank paper they want at ten cents apiece; but they don’t want a blank piece of paper, they want what I put on it. Remember this always!

7. Increase your chance of print sales.

If a customer wants a family portrait that includes mom, dad, and three kids, shoot the family portrait but then do all three kids together, each child individually, mom and dad together, and each parent alone. While some families might balk at this, you should point out that the kids are all dressed up, your lights are all set up, it’ll only take a little more time and there’s no extra charge involved. This gives you the possibility of selling many more portraits—consider it ammunition for your proof passing session that gives the client more options to make into final prints. Some photographers will shoot 200 images of the five family group together; I prefer to shoot the same 200 images but break it down into smaller groups. Who knows? You might end up selling the 24 x 30 (61 x 76.2 cm) family portrait to hang in the living room and an 11 x 14 (28 x 35.5 cm) of each kid to hang on the stairway wall. You might even consider limiting the proofs you give to the client to just the family portrait they originally wanted, and when the client asks about the others, say that they are great but you wanted to save them as a surprise for when the client came in to discuss the family portrait.

Some photographers may be opposed to this idea. They may think it’s a nefarious scheme to artificially pump up the portrait order, but it’s by no means nefarious—it’s just business! If you take great portraits and they make your clients happy, then it’s your job to sell enough of them to stay in business. This way, you can make more portraits for other clients and make more people happy! And there’s no pressure on the customer to buy more prints; they are simply offered as an option your client might not have originally considered, but may be grateful for. Photo (c) Steve Sint.

8. Diversify within your field.

I shoot family portraits, commercial portraits, weddings for myself, weddings for other studios as a sub-contractor, catalogs, I shoot for companies on location, I write books, and I teach workshops. Beware of becoming a one-client photographer; eventually that client will do one or more of the following: (1) Get fired. (2) Get bored with you and start looking for other talent. (3) The client or company will move to another state. (4) They will go out of business. (5) They may even die! As the old saying goes, don’t put all your eggs in one basket. [Photo below (c) Liz and Joe Schmidt]

9. Diversify outside your field.

Look for related businesses that augment your services. I know a wedding photographer who opened a tuxedo shop next door to his studio. Portrait photographers can develop a lucrative custom-framing sideline that can be as profitable as their photography business. Don’t be limited to these two ideas. Be creative.

Photo below (c) Len DePas

10. Join an organization.

Consider joining a professional organization such as the PPA (Professional Photographers of America, Inc). Even if you can’t join immediately, try to find out about and visit at least a few of their trade shows. In my area, New York, there is a yearly trade show called PhotoPlus Expo, and every year I make it a point of going. While I stop by a few camera manufacturer’s booths, my primary interest is in items that I can sell to my customers. Things like watercolor prints, prints on canvas, or even photo-realistic wall tapestries are all specialty items that can be sold at a much higher markup than standard photographs. Offering items of this ilk can do wonders for your bottom line. Selling just a few of them each year can be the difference between success and failure and, as an added benefit, just offering them separates you from the amateur newcomers.

11. Prime the pump.

Do favors for people. Get friendly with your local business organizations. Become active in your local place of worship, and if they have a charity auction, be first in line offering a free portrait sitting and a 16 x 20 (40.6 x 50.8 cm) print as a prize! Every wedding I shoot has beautiful, expensive floral displays. Sometime in the course of the day I get a photo of the flowers and I always make sure that the florist gets a copy of the picture. I never ask for anything in return, and the more free pictures I pass along the more referrals I get.

12. Take a course.

Lastly, if you want to sign up for a course on Photoshop, may I suggest that you check out a local university or junior college and instead take a course on small business administration. In a perfect world you should do both, but if you want to be a professional photographer (or portraitist) I will guarantee you that the course on small business administration will serve you better in the long run—even if it will make you so bored you’ll want to cry! Sorry kids, but you’ve got to eat your vegetables.

This list is obviously not the be-all-and-end-all list for making it as a successful portraitist; it’s just some of the ways I have made my business better. What it should tell you is that you’re going to have to be a creative and savvy businessperson in this career, not just a great photographer. Take time to consider what opportunities exist in your area and how you can make them work for you. As long as you’re professional and friendly, no one is going to be put off by a motivated businessperson showing initiative. So go ahead and put your work and yourself out there. Photo (c) Steve Sint