The Pro Photo Business Forum

If you’ve been a professional photographer for any amount of time, you’ve had friends and family ask you to shoot their wedding, birthday, or portrait. For amateur photographers, this can be a great opportunity to build a portfolio in a more relaxed environment. But for the working professional, this situation could end in a nightmare unless you treat it very carefully. For this reason, many photographers refuse to work for friends, afraid of repeating a bad experience that they or a colleague had. But if you keep a few things in mind, working for friends and family can be a rewarding experience that is beneficial for both you the photographer as well as your friend or relative.

Making sure the whole process runs smoothly starts when your friend or family member asks you to photograph them. Nothing is more critical at this first step than ensuring that you understand their true expectations. Look out for dangerous phrases like “snap some photos” and “take a few shots”. Very rarely does anyone actually want just a few snapshots. Otherwise they wouldn’t have asked you. A fellow photographer I am friends with recently spoke on the phone with another friend of ours about doing a few “quick” portraits of his daughter. What he described as “passport-style shots” turned out were going to be used as senior portraits. Had the photographer taken some boring passport photos, the girl would have surely been disappointed, and worse, would have expressed her disappointment to her friends. There’s a clear lesson in that story: ask questions, and don’t stop until you’re absolutely sure about your friend’s expectations. Whether they are direct about it or not, your friend is asking you to photograph them because they trust you. They trust you because they’ve seen your top quality work and level of professionalism. Don’t let them convince you that they are interested in anything but your best work.

More than trust, price almost always plays a factor in family and friends requesting your services as a photographer. Most people’s budgets are tighter these days, and you as their friend the professional photographer are a perfect way to fit in under budget for their wedding. There are several ways to approach pricing yourself in these situations, all of which are valid and depend on both your business and your relationship with your friend.

The first way is to charge your regular rate. If you are a busy wedding photographer and your friend’s wedding will fill a date you will likely get other inquiries for, this is a good option. Your second choice is to give your friends a discount. Lower your normal rate, and treat the discounted amount as your wedding gift to them. The third and final option is to only charge them for expenses, but not your time. To properly photograph an event, you’ll need assistant(s), possibly rental gear, and other items. Don’t ignore these or you may very well end up losing money by photographing them. This is only appropriate for photographers with low rates such that only charging for expenses would not be a huge discount. Notice that doing the event for free is not mentioned here. If your friend is not even willing to cover your costs, that likely indicates that photographing them will be far more trouble than it’s worth. When you don’t charge any money, you are no longer a professional, but a volunteer. If you cannot respect your business enough by charging friends and family members, they surely won’t respect the fact that you a professional.

Once you’ve agreed on a price, the worst mistake you can make is deciding that because you are such good friends, a contract is unnecessary. A contract ensures that both parties understand each other’s expectations and binds them to a set of terms. The same way a contract protects you in the event a regular client is unhappy, it ensures that you are not liable for anything outside of your friend of family’s expectations. What happens when your friend who just wanted you to take a few “family snapshots” at his wedding is upset that you haven’t delivered a stunning portrait of his bride? Photographers worry that insisting on a contract could upset their friend and damage their friendship. In reality, not signing a contract could do just that. Signing a contract and then having to use it to defend yourself to a friend is an unfortunate and uncomfortable experience, one that we all hope to never be part of. But having a friend sue you and demand that you pay for a restaged wedding and a new photographer will surely sever your relationship with that friend. Don’t opt to skip a contract. You’ll only be sorry later.

Photographing family and friends can be a fun experience. Because your subjects know you well, the session can be more relaxed and produce beautiful portfolio quality images. But if there is confusion about the expectations of the photographer and the client, it could also be your worst nightmare. A solid understanding of expectations and payment formalized in a contract will prevent future hassles. Be friendly, but be professional, but remember: make everyone’s expectations clear. With that in mind, have fun photographing your friends and family and providing them with beautiful images they will cherish forever.

Please leave a comment below, or join the PPBF to discuss this topic further.

I have a saying, “100% of the photographs I do not take, will not sell.” So it stands to say that the more photographs I take the more opportunity I give myself. Wedding photographers have always known this to be true, which is why over time we’ve seen an evolution of what we offer our clients as final products.

Today I’m going to share with you a radical idea.

Honeymoon photography. I know at first it sounds like a crazy idea, but why not take a few minutes and read a bit further.

I don’t know who the first wedding photographer was, but you can bet that his or her first photographs were of the ceremony. And one can easily assume that wedding photographers soon after expanded their services to include the reception as well. From there came the Bridal session, and then the engagement The session.

One would think that with the natural progression of things, after adding first the reception then both the bridal and engagement portraits, that adding honeymoon photography would be next. But it would seem that this is not the case.

As it turns out, the industry of wedding photography skipped the natural progression and invented a completely new product, which is spread through most of the country. The day after sessions and trash the dress sessions have become an overnight fad. And why is this? My guess is that the mere thought of offering honeymoon photography to our clients seems so utterly impossible to sell that we had to add a completely new product so we can create more images to sell tour clients.

So I say now is the time to start offering honeymoon photography tour clients. It’s the final frontier for wedding photographers. It’s the next step. It’s the next thing we can offer that will allow us to take more photographs of our clients to provide us with more opportunity to sell additional images.

Join the Pro Photo Business Forum and lets discuss how to make this happen for your photography studio.

Examples of my honeymoon photography can be found on my site at http://www.solarisstudios.com 90% of the images that you see which are destination images were taken on my client’s honeymoons.

Do I really need a contract before I shoot a wedding?
by Bryan Lindsey
BCL Photography

Well, what is the purpose of a contract? On a principled level, it spells out the expectations between two parties – party A agrees to do THIS if party B agrees to do THAT. It avoids confusion and misguided expectations. On a legal level, it is the basis for lawsuits, arbitration, and all sorts of stuff that lawyers get big bucks to dispute. Will YOU ever need a contract on the legal level? As a photographer, will you ever need to produce a document in court as part of a legal dispute with one of your customers? Probably not (hopefully not!). So the benefits of a contract are really in principle – the contract preempts future disputes by spelling out what services the photographer will provide and what price the customer will pay. Personally, if a customer is not able to easily sign and return a contract or if I book something at the last minute, I often require just an email stating that they have read and agree to my standard contract. I want agreement in principle, not necessarily a legally binding document. Some other photographers will contend that point, but again, I value the clarity and principled agreement that the contract provides over its legal value.

What should be included in the contract? At the VERY least the contract should include the agreed upon date and time that shooting will commence, the duration of shooting, and the price to be paid. Also to be included are the deliverables – the number of prints, an album, a DVD of images, etc. There should be no confusion as to when the contract is fulfilled. It is when payment is made, and the deliverables are delivered. Residual sales items (prints, albums, etc.) will often not be part of the contract (since the customer wants to see what you shoot before they commit, which is understandable), although it doesn’t hurt to have your price list and lead times for these items included in your contract. This will help prevent future confusion/discussion/negotiation for those items.

What else? A complete contract also includes language that limits your liability. Is there a retainer required? What if the wedding is cancelled? What if things are running late? What if you are told to go left by one person and then told to go right by another person? What if your camera spontaneously combusts? What if, what if, what if?!? The more scenarios that you can cover in your contract, the better off you’ll be IF those scenarios arise. I often tell the customer that the reason these items are covered is because they have come up before, perhaps not with ME, but they have caused a problem for someone in the past and have resulted in a dispute. The contract is for the protection of both parties, and the customer should welcome the fact that these things are down in writing. If they don’t value the contract or try to put it off or wiggle out of signing, WATCH OUT. Many photographers will not book a date without a signed contract and paid retainer – there are logical reasons for this. If you are looking for ideas for contracts, just Google “photographer contract” and several templates come up in the search results ranging from simple to complex contract templates. Use protection – protect yourself and your business. Save yourself a bunch of hassle. You really need a contract before shooting a wedding.

www.bclphotography.com

Whose Pond Is It Anyway?

Writen by: Scott Villalobos

In the wedding and portrait photography business, sooner rather then later you are going to have to ask yourself this question, “Why am I competing with Uncle Bob?” Perhaps the real question we need to ask ourselves is, “Why am I attracting people that would rather hire uncle Bob as opposed to me?”

In the words of wedding photojournalist great, Denis Reggie, “If your fishing in a pond with little fish in it, don’t be surprised if all you catch is little fish. If you want to catch big fish, fish in the pond that has the big fish. This often means changing ponds.”

Many people just starting out get stuck in this exact situation. They charged low, low prices to attract business and build their portfolios. Then the brides friends start calling wanting the same deal their friend got one or even two years later. The problem is now your more confident, have gained experience, have a decent portfolio, and you’ve finally figured out that you weren’t making any money so you decided to raise your prices. That’s great, but is your clientele willing to pay the extra? Not if you haven’t gotten new clientele and I’m not talking about new faces but different clientele. So as Denis says, “It’s time to move to a new pond.”

If you are just starting out how can you gain valuable experience without getting stuck in the low-end market? There are many ways to gain experience and build your portfolio without having to slit your wrist for your clients.

One of the best ways is to learn by proxy. This means working for other photographers either as an assistant and working your way into a second shooter roll, or if you’ve already cut your teeth on a few weddings and want to shoot your own, look for a studio that uses associates. No you’re not going to get rich this way, but you will gain experience without having all the responsibility of being in business for yourself. You will also be able to create relationships with other vendors. Why is this important? Because other vendors may be able to help you drop your lures in the big pond, so treat them well, they are like fish finders.

One thing that I’ve noticed in the last three or four years is that many people think they can follow in the steps of the Bella Pictures of the world. The business model is volume driven and nationwide service. This means they use alot of local photographers especially in the bigger cities. While there is a market for this type of service, there is an even greater opportunity for new photographers to gain experience and knowledge of the industry by going to work for one of them. However, this can also be a double edged sword as you may find them to be your greatest competition in later years, and these guys work cheap and create albums cheap. But if you think you can handle your own weddings and want to perfect your style and technical savvy this might be the way to go. You won’t get rich, you may not even make enough to pay the rent, but you can make a name for yourself and if your good get referrals for future jobs.

But let’s look at the problem. You keep hearing that your competing for business with either a family member, a photography student or a relative who is an avid enthusiast. What do you do then?

The answer is not necessarily saying that I’m a pro-photographer with years of experience. I was at the Bridal Extravaganza back in July and one of the best photographers in Houston ($10K+) came up to me and said, “There sure is alot of great photography here.” Many of these photographers are in their first couple of years in the business and the truth is they were darn good at their craft. There are alot of uncle Bob’s that are also darn good at their craft even though they are not professionals. How will you convince a bride and groom or even worse, the brides mother to lay down 3 to 7K with you?

To answer this question you need to know that being a professional means alot more then charging to photograph wedding or portraits or whatever. It means being a businessperson, a marketer, customer service oriented and good with people. If your not good with people you won’t get very far in this business. People have to like you. When people can make a connection with you they will be drawn to you and your services. You have to give the customer a professional experience. You need to show professional products in a professional way. You need to have a polished presentation & pricelist. You need to offer products that stand out. You need to let your customers know that you are not just a shoot and dump photographer, but that you actually care about them and their finished products. (I’ll get more into detail about this aspect in a later post.)

Ultimately if your choosing to compete with uncle Bob you will find that your not going to get anywhere fast. On the other hand, if you choose to compete with professionals, be a professional. However you choose to do it, if your starting from scratch and you find that your greatest competition is a guy named uncle Bob, you may consider changing ponds.

Well, I am so excited right now!  The Pro Photo Business Forum went live yesterday, and I’m just on cloud nine.  At least the forum has gone live.  My fabulous web designer, Leanne, has been working very hard at converting my design instructions into a reality, and I’m so pleased with the results.

Today I wanted to share with you an idea that can last your entire career as a photographer.  If you are just starting out as a wedding or portrait photographer, I would like to suggest that you join a few professional photographic organizations.

As a wedding photographer, you should really attempt to find a local guild of professional photographers.  Most major metropolises will have one.  One of the main benefits of joining a local professional group is the fact that you will create resources that you can fall back on if you are ever unable to make it to a contracted wedding.

If it is the morning of a wedding and you wake up with a 102 fever, or something worse, it may be impossible for you to make it to the wedding.  But, if you have joined a local group of professional photographers, then you can contact the director of membership and have him/her send out a blast email to the entire group asking for emergency help.

Now, let me also say that you really need to have an “inner circle” as well.  This group would be the group of photographers that you would refer business to if you yourself were unable to photograph an event due to unavailability.  Your “inner circle”  should always be your first call in the case of an emergency.  Your professional organization is your fall back position.

Happy shooting.

As a wedding photographer, one of my most popular products that I sell is my time. What do you do when you are at an event, contracted for a start and end time of your services, your time runs out but the event isn’t over?

I photograph a clock. In this case, my iPhone.

Photographing a clock is proof that after that particular shot you were shooting on overtime for your clients and you can charge accordingly.

I never approach a client during an event to let them know that their time has run out, I simply ask if there are any additional images they would like me to create before I go. If you do not have the opportunity to talk to your clients, then you have a choice. You can leave as contracted, or you can stay and continue shooting.

If you stay and continue shooting then you give yourself opportunity for additional sales. You can show your clients the additional images, and perhaps they will want to purchase them. Your clients may also want to only purchase a portion of your extra images. My policy is to sell the first image equivalent to the amount of overtime I worked, and the rest are free.

You must be able to calculate the efficiency of your advertising efforts. When wedding photographers say their advertising is working, they generally just know that they are receiving calls and booking weddings. You must know more than this.

You must know if your marketing is efficient or not. The best way to give yourself the answer to this question is through the use of statistics. As a business owner that wants to succeed, you have a responsibility to track the statistics of your business. Through marketing you begin to attract individuals to your business. These individuals are inquiries, and you must ask each inquiry one basic question in order to create the statistics you need:

How did you hear about us?

Keep track of the following after your initial contact with your inquiry:

1. How many of your inquiries did you convert into consultations?
2. How many of these consultations did you convert into paying customers?
3. How many of your paying customers have you converted into repeat customers?

The answers to these questions will show you where you are the least efficient. If you see that you are only converting 10% of the inquiries you receive into consultations and 90% of the consultations you have are converted into paying customers, you know you must change the language used when answering your phone or replying to people inquiring about your services via email.

Tracking each and every inquiry will also tell you where your paid advertising is failing or succeeding. You do not need to focus on the ads that are doing the best until you have addressed the ones that are doing the worst.

You should be able to find out the “cost per lead” for each of the ads you have purchased. For example, if you paid $1000 for an ad somewhere and you received 10 phone calls from that ad, your cost per lead is $100. Think of it this way, when that phone rings, you are spending $100.

Being able to find your cost per lead for each of your paid ads is essential to becoming more efficient. This information will allow you to make educated decisions when the contracts for your ads expire. You will know which ads to keep and which to drop. You may decide to change the language in one ad to see if you can create different results. You may decide to take the money from one ad and use it to increase the size of another ad that is working better. If you do not have a system in place allowing you to track your cost per lead, you are just shooting in the dark, wasting your money and time. That is inefficient.

This next point is important. If you do decide to change an element in your weakest advertisement, make sure you only change one thing at a time. In the long run, this will give you clearer understanding as to whether or not the changes you have made are working. If you change too much all at once, you have no idea what specific alteration created the change, good or bad, and it will be harder for you to repeat the action in the future.