Photography plays an important part in many areas of business; in particular it is a vital piece of the marketing jigsaw. However, the general acceptance of the need for good photography runs hand in glove with the perception that it costs too much.
Any attempt to cut costs ought to be measured against the variation in quality and suitability of results, and the subsequent effect on business benefit. It is possibly more instructive to consider getting the best value from photographers rather than simply on how to slash the budget.
Value
The latter could, of course, be easily achieved: after all, everyone is a photographer; why not just take your own? Indeed in some businesses, and for some uses, this is undoubtedly a viable option. But beware - there is a world of difference between the amateur leisure use of a camera and the myriad techniques, method, equipment and experience that a professional can apply. Even those in businesses with a visual acuity (designers and architects often do some of their own photography) ultimately rely on professional photographers.
The primary consideration in getting value is making sure you get what you need. There is no benefit in saving money on a sub-standard job. Paramount must be choosing the right photographer, by seeing what he or she has produced for other clients. Beware his or her lovingly-crafted personal work and look at real jobs; only when you have checked the work should you compare price.
Rates
Photographers tend to charge by the day or half-day. There is a grey area over what is a day or half day - especially when the photographic requirement is not lengthy but the location is distant. There is usually enough flexibility to discount rates for a multi day job; the most efficient way of sorting out several small jobs is, if geographically reasonable, to run two together on the same day.
Photographers are going to charge a mileage rate, the costs of film and processing and possibly other costs. Agree beforehand, and on the costs of any prints you might want to order subsequently. If you want a known ‘bottom line’ most photographers would come up with a deal; however, the problem is that once the allowed-for film is used they will be reluctant to load more. It might be cost effective to allow the photographer to shoot as much film as he or she feels is effective.
Briefing
Commissioning photography is not like buying a can of beans. There are different ways of approaching a job, and different styles, partly to suit the use. Product shots for a sales brochure are but a distant cousin to product shots for an annual report.
So to ensure success it is particularly important to get the briefing right. The photographer needs to know all there is to know, and if the brief is worked out with him or her it avoids listing unrealistic expectations. It helps if you understand the terminology - it’s amazing how much confusion there is between negative, transparency, slide and film types and camera sizes, all of which can lead to potentially costly misunderstandings.
There is no answer to the question 'how many shots in a day?'. What is certain is that the fewer there are the more care can be lavished on each one. An advertising photographer might spend a whole afternoon working on one shot which could be just one of many on a public relations brief. But beware of trying to load too much into a short space of time - too long a list will inevitably result in snapshots. The ‘while you are here’ syndrome has to be confronted head-on. Adding in unplanned shots may cause time pressure or just sheer resentment that it is more than was quoted for. The frustration created may result in bad shots and someone somewhere down the line will point the finger at poor work.
Legal
Part of the agreement with the photographer on fees, costs, shots to be provided, and film type, should be who will hold the negatives (if shot; transparencies normally go straight to the client). Some photographers insist on keeping them, others happily hand them on. Copyright is complicated but essentially stays with the photographer, so make sure your agreement specifies the use you intend, and are paying for. Other uses should be by agreement: if the original fee was on the basis of limited use, another fee may need to be negotiated.
Planning
There is nothing more wasteful than booking a photographer but not getting all the elements of the shoot organised. Photographers have myriad tales of locations where false assumptions had been made, leaving them with the product not ready, key team members away for the day or the venue not available, every time causing another session to be booked. So much for the budget. I can remember once speaking to a client - a PR person for a major brewer - for whom I had photographed various aspects of a ‘branded’ pub. "Oh dear," she said, "it wasn’t a very nice pub we sent you to". It is expensive to use the photographer as location researcher.
If a room is to be allocated as a studio for portraits or product shots it will need to be bigger than you think; lighting and backgrounds take up a lot of space. Make sure that a production process to be featured is actually happening and that it is possible to interfere, control or disrupt it to some extent.
The one major factor outside your control, which even photographers can’t magic, is the sunshine. With weather sensitive shots - all property and architecture - the best plan is to do a deal with the photographer to shoot not on a set day but when the weather is good, with a deadline as far ahead as possible.
Digital
Most photographers do not use digital cameras yet, but many will scan in their images for on screen alterations and provide disc files directly to the designer or printer. Ultimately digital will save all today’s film costs, but only when the capital cost and quality ratio improves.
Conclusion
Key points to cost efficiency are:-
(C) 1998 Chris Morris (01452 830911)