Frequently Asked Questions - All FAQs
Please select your question category
View all frequently asked questions
I have an extensive set of in house equipment, and can rent anything else we need.
Full Frame Canon Cameras ( currently a 5DmkIII and considering an upgrade to the IV ) and L lenses, including the 70-200mm F2.8L IS II, the 24-70 F2.8L II, the 100mm Macro L, and the 12-24 f4 Sigma ART, and the 85 f1.4 Sigma ART.
Set of Einstein studio strobes with Pocketwizard transmitters for ULTRA HIGH SPEED strobe sync up to 1/8000th of a second. Normal strobe systems only sync up to 1/250. 1/8000 allows me to capture VERY high speed events with plenty of lighting.
Various flags, stands and other support gear.
Six Speedlights, various modifiers, and cinema gear including a 12' crane.
Product stage including arcylic surfaces for both pure white and pure black backgrounds with or without real reflections. ( Not available for location shoots ).
Manfrotto stands, Photoflex 12' wide backdrop set with white and black seamless ( Not generally considered portable, unless project budgets for at least one assistant ).
FULLY stocked and portable product and food styling kits, with dozens of tools, materials, liquids, and other items needed for food and product photography.
Portable tool kit.
Light Blaster and many slides.
Variable ND Filters.
When shooting tethered, I use an Alienware M17x, a very fast laptop with a huge, beautful screen, perfect for viewing images.
I use an X-Rite Color Checker Passport. You can see it in the portfoilio. If you hire a photographer who doesn't use one of these, or a similar device, you hired the wrong one. It is impossible to know if you have correct colors in a final photo if you don't have a reference from the actual shoot.
I import images to triple redundant backup.
By using a hexacore system with a 1400MBs SSD, I can process images same day if required.
Depending on the requirements of the job, I may rent specialized lenses, lighting, or props.
Like all professional shooters, all client jobs are billed with the assumption of some usage of equipment, at below standard rental rates.
I believe that in 2018, a business like mine can and should operate 100% Green, or as close to it as humanly possible.
I have ONE copy of a print portfolio in a sturdy hardcover book, and that is available for viewing for those who really want the feel and look of a quality print book to see my work. The book was printed by Blurb, and is gorgeous. Every six months or so I may print a new one. By not printing large quantities of brochures, I operate lower cost, thus charge less, and generate almost no waste. I love a beautiful printed product as much as you do, but I choose to market digitally to be more sustainable. You'd be surprised how much waste you go through and how much it costs trying to distribute brochures.
I have done away with paper contracts, and use a cloud based contract service. This is the single largest contributor to my Green status. All of my jobs require an extensive contract, and in years past, this added up to a huge amount of print material.
I do maintain a VERY small quantity of green friendly cards printed by moo.com. These are only used sparingly to give directly to potential clients that I or my assistants meet. I only order about 200 at at time, and they last a long time. I don't dump them all over town.
I do no print advertising, or other print materials.
I use almost no waste material on jobs. I go in, shoot, and leave no waste material, like boxes or paper.
I also use 100% rechargable batteries, so I don't go through batteries at all.
Due to this, this site and the PDFs that I send out are the ONLY advertising and marketing material I use.
Fashion Photography - For editorial, lookbook, model port, catalog, or commercial. You need a model for a clothing item or to hold a consumer product, and the resulting image will be used for catalog or advertising, I’m your guy. If you are a model in need of images, I can do that as well.
Product Photography - Just take a look at my product pages. No one does it sharper or with more accurate color. Available types are studio, location, lifestyle, and various levels of composite.
Architectural Photography - Usually involving locations, and will often employ models as well. Retail, or similar locations.
Different entities have different definitions of what constitutes photography genres, but those are mine.
I use an X-Rite Color Checker Passport. This device, seen in the portfolio, assures that not ONLY is white balance 100% correct for every shot, but the ENTIRE color gamut is snapped into 100% using a custom profile that is created for each scene. Look at the pure, beautiful color this results in. It takes very little extra time, but the result is stunning.
This is the ONLY way we can assure color accuracy across varying lighting conditions. I don't do wedding photography, but if I did, the bride's dress would be 100% correct across all images throughout a day, and that's critical.
How Does Uryaen Productions "Price" each job.
The following FAQ includes several traditionally very HEATED debates, but I'm presenting them simply as facts. Take away from it what you will, but this is how things work:
Ok, I get it. Some of you are "price shoppers" comparing a bottom line price for something to other providers, but you can't and shouldn't do that. It's for your own good. First, it's extremely disingenuous of any provider to offer a flat price or even an "hourly" price without knowing the scope and parameters of a job. Many inexperienced providers do that, and it's always a fail. How can they possibly know what it will cost to do your job without knowing all of the details?
Full Pricing is determined by a WIDE variety of parameters and is subject to final use of images, trades, licenses, crew size, and much more. I understand the need to see a “final price” but I’m afraid it’s not even remotely that simple.
To give you an idea, here are just the BASIC categories of services I offer, and each has its own sub parameters to work out before I can figure out costs must less pricing:
Anyone can take a picture of a pretty girl. It takes a world class model photographer to create light where there is none, and turn a rainy morning into a sunny one.
The above image is featured on magmod's site, the maker of some of the gear used in the above image.
Taking a picture of a drawer pull on a middle grey seamless background with minimal post processing vs. photographing an Aventador with a celebrity driver on location in Dubai are galaxies apart in requirements and costs. But since I know nothing about your actual requirements, I can't possibly give you any indication of what it will cost. Can you see the dilemma? I can knock out the former for a few hundred dollars maybe, but can you imagine if a client wanted to book the latter for that? There's no way. A shoot like that is a minimum 100k, or more, depending. So yes, your budget partly determines what is possible.
The level of production HIGHLY dictates how long things take, and what resources I need. Only you can decide how much is "enough", and that's something I can't just quote upfront.
As you can see, it's a lot to go over. Demading that a provider "send rates or no reply" is just flat foolish, and will lock you out of ALL professional providers.
It is quite impossible to have a menu of prices or even “packages” in a business like this and any provider who does I promise is inexperienced and does not have your best interests at heart. I have a separate overall pricing sheet I use to determine my final quote, but all of the above has to be considered together as a whole, and the final rate will be submitted based on this. My initial quotes are usually for the minimum amount of work and resources required to accomplish the basic assumption of the job. Adjusting that expectation also has a profound effect on the pricing.
All that said, the actual per image CCUF is fixed, and depends on usage type. I maintain a PDF available for emailing that details the rest and allows you to calculate the entire project the same way I do.
On Copyright and Usage
I have seen this issue crop up a lot lately, and discussion about it is usually very heated.
My various materials make this quite plain, but some people find out the following and react very indignantly. Here it is:
Copyright for an image ALWAYS belongs to the person who took the picture.
Feel free to research that and come back. Not clear? The right to an image by law is assigned to the PERSON who TOOK the PICTURE. I'm sorry to be so direct about this, but it's something that many people just refuse to understand. The rights don't belong to the client, the model, or even the owner of the camera, assuming that the person taking the picture doesn't own the camera. Your personal feelings on this matter are not relevant. That is the law.
That said, the vast majority of the time, this isn't an issue, but if you're paying to have pictures created for you, most of the time you also won't be allowed to just use those pictures forever. There are usage limits. In my case, I keep the usage very reasonable, but it's all spelled out in the agreement.
If you have a certain need for full legal copyright to an image, you can buy that per image, but the fee will be quite significant. Photographers sometimes recoup the costs of a shoot by selling the images for Stock, or licensing them for other clients. If you wish to prevent that, you'll usually buy what we call an "exclusive license".
Most of the time, none of this will be an issue.
This is a touchy subject for both providers and clients. Virtually none of them well say it your face, and when they do it's usually in a very impolite and foul mouthed fashion, but I'll try to break it down logically. When you ask for a provider to work for "exposure" - leaving personal feelings out of it for a moment:
1 - Providers at the level that would benefit from your "exposure" usually are not going to be experienced enough to complete the job in any way that the exposure will actually benefit them.
2 - Clients whose job IS worth the exposure for those of us who can complete the job impressively enough can afford to pay us what we're worth.
Pretty much end of story.
The only exceptions are jobs where I don't require a crew or planning, and I think that the job will be fun, or worth it to me personally for some other reason. Even then, I never work for nothing, only a reduced fee. All job expenses, which still make up the majority of the total job cost, are still the responsibility of the client.
On Using the Cheapest Provider
I have seen this happen a number of times over the last couple of years. Client comes to me for quote on photography. I quote very reasonable cost ( but probably sounds like a lot to them ). They go with someone cheap and two months later, they are posting the images online looking for a "Photoshop expert to fix these". They are told by multiple people that they should have done it right the first time, and that the images are not fixable. Even then the client only has access to lower resolution .jpgs, and not the original camera raw files, and no reputable provider is going to ask for the originals from another provider, or bother to work on .jpgs. Maybe the first provider shot on .jpg. Either way, I DO NOT "edit" photos from another photographer. I will quote for new photos. I also do not discount for this and I do not feel sorry for people who did that. They tried to "game" the system, and that loss should be a life lesson.
Don't fall into that trap. The only thing worse than overpaying for images is paying for them TWICE.
Unlike many other service types, Photography/Cinematography is a difficult business to price. Each job requires different elements, and I’ll help you determine what you need but I will never simply quote an hourly rate ( the SUREST sign of an amateur ) or even a flat quote without knowing every detail.
All quotes are based on the information available at booking and signing. Quotes are based on industry standard and take into account paying assistants, time, fuel, wear and tear, equipment, experience, and local conditions. Please note that almost all projects are subject to revision and cost adjustments before they are finished.
So the bottom line. If you were sent to this FAQ, you probably sent me a message asking me to quote on a job where I know none of the details, and while you're welcome to go with someone who quoted a flat price upfront, please understand that it is my policy NOT to accept jobs where I'm asked to come in and complete or fix something that an inexperienced provider did. I will require that we start from scratch, no exeption.
My preferred methods of payment are wire transfer and cash, but credit card processing incurs an extra about 3%, which really adds up over a number of jobs. The client is responsible for remitting that extra 3% thus I need to know your intended payment method.
Retainer Policy - ALL projects require a non-refundable retainer not less than 5 business days prior to EVENT equal to 50% of quoted CCUF if CCUF is greater than $1000 plus all expenses. For all projects wherein CCUF is $1000 or less, full payment is required upfront.
If EVENT is in less than 5 days, full payment will be required. If paying via check, funds must be fully clear 5 days prior, and credit card payments take two days to process and transfer, so plan accordingly.
Rest of payment is due according to the payment schedule outlined in the proposal package of first EVENT and before final images/videos are released. No exceptions.
Some projects will require full payment instead of retainer for other reasons.
All projects involving third party crew, performers, etc. will have portions of the retainer set aside to book, and any payment promised or remitted to retain such third party services will not be refunded upon cancellation of project by CLIENT. This means that the availability of talent, crew, and third party PROVIDERs is not locked in until after retainer is paid.
Projects requiring travel or larger crews will have higher retainers and other terms.
Retainer is calculated based on material cost, and all retainers must cover 100% of all third party elements, materials, rentals, crew and talent expenses, location and permit expenses, and half of CCUF.
Retainer must be paid and fully clear before any production begins on project. PROVIDER will offer email based consultation, but no meetings, location scouting, or hiring of assistants, models, or other crew can occur until retainer is paid and available. See Proposal for payment options and terms.
Retainer Liquidity - Retainer is used to both block out a set of dates, which are usually a week or more, and if canceled would cause loss of income, and is used to cover many different costs associated with setting up a job, such as paying the retainers of OTHER providers involved with the project, and other related expenses, and under the terms of this contract, are not refundable for any reason.
Large Project Retainer - In some cases, usually very large projects involving weeks of planning, travel, the hiring of many crew, or other reasons, Designer may ask for references. Retainers are never less than 50% but larger projects may have expenses that greatly exceed the normal ratio, and in such cases, Designer will either request several references, and/or require 100% payment up front. If CLIENT has a very large project, but is not comfortable with or capable of providing references, Designer will accept a non-refundable up-front fee of $500 to do a detailed evaluation of project including in person interviews with CLIENT or employees, and to discuss project with crew and talent. This is to protect Designer time and relationship with third party crew and talent.
The retainer requirement is not negotiable. All professionals charge a retainer of some kind. If you have had problems in the past with providers unable to complete jobs and you've decided to withhold payment, you're dealing with amateurs. My pricing is extremely reasonable compared to most, but I no longer do any production work until the retainer ( or entire amount depending on situation ) is paid and in hand.
Very Well Established Clients
I define Very Well Established Clients as those who I have done a number of jobs for, have never given me a single problem, and have paid according to my terms every time. How many times this takes is variable, but once I trust you, you'll get a number of bonuses.
For VERY well established clients, with exceptional "credit", I will waive the retainer minus the expenses, unless I can cover those as well. In these cases final payment is due after delivery of final work. This is a loyalty bonus for clients I've worked with consistantly over a period of time.
I open up my payment types a bit for you.
I will accept checks or other cashable forms of payment, and execute the job while we wait.
I will come to you to accept payment in person any day you need.
I may be able to arrange some discounts for certain aspects of my work. As my work is already low margin, it won't be dramatic, but if your work is higher caliber, I may be able to arrange additional models, makeup artists, assistants, etc. at no additional or little additional cost.
You really don't want creative/technical work to be "rushed" but if you absolutely NEED your job done right now, and delivered in a normally unacceptably quick time frame, I'll be happy to do what I can, even delaying other tasks.
In those cases, I can do TODAY, but I may not be able to arrange TODAY and a discount. But it depends on the schedule.
In some cases, I can do today work if you help me help you.
Free Add Ons
Anyone well established with me gets bonuses. What those are depends greatly on the type of job. If it's photography, it's usually extra shots, or extra set ups. For post production, it could be alternate cuts of footage, etc.
If you have any additional ideas, let me know.
What if I’m not 100% happy with the Edited Images/Video?
It happens, but the key as it pertains to our agreement is why. Did I simply not do a thorough enough job editing blemishes or something of that nature? I’ll fix that for no cost. Did you change your mind about what you wanted, and no reasonable third party would call the change a fault of mine? I will quote a rate to fix it, and images will be released upon payment.
In the case of trailers or other video, the original invoice ONLY includes ONE “build” of the finished video. Minor edits are allowed up to a degree, but if you request that I scrap the entire build and do a new one, I will charge 50% or more of the invoice to deliver the new files. This policy is in place to prevent an endless cycle of building video edits and having to redo them.
Refunds - Under no circumstances are refunds offered once job has been executed. PROVIDER is selling time, materials, resources, knowledge, skill, and the same of possibly several others. PROVIDER is not selling a widget. One can’t return what PROVIDER is selling. CONTRACT is for delivery within stated number of days but this is not to be construed as an offer for any kind of refund. If PROVIDER cannot deliver what is promised in time, we can discuss why, and go from there. Complex projects entail dozens of separate parameters, and not all of them are under PROVIDER control. If issue is with something in the images/video as they were originally captured, CLIENT will have to work around it. If PROVIDER cannot process the images/video, PROVIDER will help CLIENT find someone who can. In extraordinary circumstances wherein PROVIDER simply has not provided or executed anything, PROVIDER will remit a refund based on a pro-rate of expenses, but this is by PROVIDER discretion only.
Uryaen Productions uses an ALL digital workflow. I generate no paperwork. All marketing, contracts, and delivery are done through my cloud service.
In the case of image or other asset delivery I use a cloud based storage system that allows the client to view images in their browser and download the full size versions any time they want, from anywhere! So if you're traveling, and I'm not available, you can always view and retrieve your final, full resolution images or videos.
How Does it work?
After the production is complete, I will create a section on my cloud service for your assets. You will then receive an email indicating that your assets are ready. The email will contain a password. Keep this secure, as anyone with the password can access your gallery, and thus your images.
The gallery will be in PROOFS mode until you sign off on the images, and will be indicated in the title, and by the fact that you can't download full resolution images.
When you login, You will see a floating gallery of all of the images from the production in question. This is a permanent set of links, and you will always have access to this system.
The first thing you should do is verify that you're on my secure service by looking at the url. It should begin with "delivery.uryaen.com".
At the top is the name of the production. Following this is either the word "PROOF" or not indicating the status of the images.
If this is a proofing gallery only, you will only see the preview images, and not be able to download them. If this is the final gallery, you will be able to download one or all of them, using either links on the images, or a download all button on the upper right of the screen. Downloading the full resolution images will require a 4 digit pin number. Please look in your email. You should have received an email with both the password to access the gallery, and the pin number. Why both? In case you want to share your gallery with someone else, but not allow them to download the full resolution images.
As is stated elsewhere, proofs are NOT licensed for any usage whatsoever, and posting or using them is a violation of copyright.
To make picks, click an image to see a larger version. If you want that image, click on the "heart" button and a new window will appear asking for your email. Please enter that, so that I can track your picks. You don't have to email me, I will see which images you "picked" for the final processing!
Once you have chosen the final images according to our agreement, I will finish those images, delete the proof album, and upload a fresh album of the final images. From there, you can verify that the images are final, and then download the whole set.
On image size:
Please note that in most cases, full resolution means 3600pix wide, or for web use, it is 1024pix. Absolute camera resolution, or full crop is reserved for printing, and ONLY clients who have paid for unlimited printing rights will have access to full resolution images.
If you need to have images appear in a third party publication, please have them contact me for the full resolution .tiffs. If you are looking to print canvas or poster prints, please use my lab partners through the site itself. Detailed instructions to come.
Some clients require delivery in very particular crop and sizes, with files names to match. This usually isn't included in my fee on lower end jobs. Please make sure you state upfront if you're going to require this as it takes quite a bit of extra time, and will add a couple of billable hours to a project.
This process represents a State of The Art all digital workflow that does not place any additional time or resource demands on the client.
That's not to say that if you want your images on a nice flash drive, or in a book, that I won't do that, but it's not required.
All part of what makes uryaen.com special.
This issue crops up a lot, and I get questions about it often.
For the most basic, simple "show up and shoot it" project, only a day or two, although in 20 years of shooting I've never seen any such thing. All PROPERLY executed photographer projects take several days at least. Anything requiring casting models, interviewing and hiring crew, scouting locations, developing a mood board, developing the "concept" of a shoot, purchasing materials, commisioning costumes, doing test shoots, and all the other hundreds of activities that commercial shoots require: At least weeks, and sometimes months.
Clients often wait until the last minute to pull the trigger on a shoot, expecting that a turn key cast and crew and all of the right materials are simply standing in a room waiting for them to say "go!".
It doesn't work that way. If you need something sooner than normal, expect to either pay a significant extra amount, or lower your expectation ( usually both ), but the reality is that shoots take time to pull together. The higher end the shoot, the MORE this is true.
Sure, with unlimited funds, I can call up crew and talent, and rent a studio and hotel rooms, and have everyone work around the clock planning and pulling in more resources, and put together a full scale advertising shoot in like three days, but with real world budgets, this is not possible.
In short, please plan accordingly, and understand that things take time.
In most cases, if you are a 501(c) organization and can provide legal documentation to prove it, I can arrange to do a photography project for no fee. Please be polite and understanding in your request and understand that if I agree to donate my fee to a project, it is essentially a gift. Just being a 501 does not ENTITLE you to free services from all businesses forever. I'm sorry to be so direct about this but I have seen this attitude before. I will usually only do one such project in a year, and yours is probabably not it, unless you asked me very well in advance.
All expenses of the project, such as materials, rentals, locations, location fees, assistants, equipment, and if required travel must still be covered, but I won't charge a CCUF.
Please understand that if I contact you based on your ad, and offer my service, and especially if you contacted me, the following special rules still apply:
My work will be quoted at the normal rate for tax purposes.
ONLY my fee itself will be offered at no charge. ALL projects have expenses, and I don't pay to cover those. This includes materials, rentals, depreciations, cast, crew, and permits. Even without my fee, most projects will cost several hundred to several grand.
I understand the need to get more details and interview a number of providers, but I have had issues in the past with organizations that wanted me to do a project, and then ceased communcations with me due to choosing someone else. This just wastes a lot of people's time. Therefore, you can see my materials and abilities. You can determine if you're going to hire me based on this site. Please do not expect me to spend undue time and resources bidding on a no pay job against countless other providers. If you love my work enough you want to hire ME, I ask that you go through the process, or please do not contact me, as regardless of 501c status, I consider it presumptious and rude to ask me to research and bid on a project when you may never even look at the quote.
Verification: And yes, I absolutely DO verify your status. If I cannot verify your status online, I will assume that you are not legitimate, and not reply.
I'll be brief.
There is aboslutely NOTHING special about Amazon's guidelines and requirements for images. You don't need to go around asking professional photographers if they can "handle" them. They were written to help guide non photographers.
End of story.
Depends on who you ask, but traditionally, videographers are those who handle small scale "events", like weddings and business meetings, where the goal is simply to capture the thing happening in front of them.
Cinematography, usually on film, but digital these days, deals with larger, more expensive productions, wherein the cinematographer and director are CREATING the event, such as a movie or show, and then using cameras to artistically capture the event.
There is also a division of prestige and ability. Pretty much anyone can point a video camera at something, but it takes skill and experience, and better equipment to do it "cinematically".
There is also a difference in equipment. For example, I own and use fully manual focus "Cinema Lenses", wherein video cameras use automatic lenses and focus systems. Without getting too much into the details, you might be tempted to ask "Isn't automatic better"?
When was the last time you saw an automatic exotic race car? Auto isn't always better, and the "focus hunting" that you see video cameras do is a sure sign of a low end production.
I usually only accept motion jobs that allow me to create something cinematic, rather than simply being a "camera guy".
I certainly can.
These two videos were produced entirely in 4K. I did not operate the camera in those productions, but I did process and edit them. I don't even have to use proxy edits, my computers are fast enough to edit the full resolution videos.
4K is pretty awesome, if you have the right camera and lenses. Currently I just rent, but I'm looking into buying my own as well.
4K Job Parameters
If we are going to shoot in 4K, I will need to shoot in CinemaDNG, and archive in PRORES 444. This will give us AMAZING quality, but the files sizes will be HUGE. For these jobs, I ALWAYS require that the job include the purchase of 8TB+ 7200rpm drives to use both as work and backup drives. Believe me, it's a small price to pay for the quality and the lowered risk of losing the files.
How big the job is will also dictate how much space we need.
4K shooting requires a camera capable of shooting in that resolution, and that means either a Blackmagic Production Camera, Canon CXX, RED camera, or similar, and 4K capable lenses. This means that we can't use cheap kit lenses, or lenses for EF-S or similar.
In most cases, gear will need to be rented. We may also rent or purchase external recorders, to use as the primary recording medium. It depends on how difficult or expensive a reshoot would be.
I also require additional time. I’m usually extremely fast in turnaround, but processing such high file size images ( individual photos in this case ) into usable, editable video takes many many hours, and possibly many days depending on job size.
The bottom line is that 4K is not only possible, but highly recommended as 1080p is quite dated at this point. It’s a format that has been around for over 15 years and is based on a standard that was proposed in 1983! Even some cell phones have higher resolution. Mine is 2650x1440. Many of us thought that we should skip 4K and go to 8K and that IS coming, but for now, at least it’s better than 1080p ( or "1.9k if you will" ).
If you’re producing any kind of video or cinema production, you really shouldn’t be thinking 1080p at this point.
I use Adobe Premiere Pro CC for editing.
After Effects CC for most visual FX.
RED Giant Colorista II for grading and various other tools
Various small tools for AE
This depends on a lot of factors, including the size of the property, the number of rooms, the overal complexity of the structure, and even the value of the property, as much higher value properties will take a lot longer, due to the level of detail required.
Average residential homes with just a few conventional pictures may only take two hours, wherein a massive estate with many rooms and many detailed features will take many days.
Very small "starter home" type houses with a basic starter flat rate are one hour in and out.
I'm capable of any method or technique you want to use, but for most jobs I use a combination of Mike Kelley "Light Painting", Fusion, and if required, focus stacking.
I also offer 360 degree panoramas, partial panoramas, time lapse, and cinema.
For cinematic videos, I use Rokinon manual cinema lenses, shoulder rigs, sliders, a 12' crane, and a robotic 3 axis stabilizer. My background in cinematic editing allows me to finish the video as though it were a movie. Not an inexpensive option, but one I think you'll be amazed by.
In order to maximize my process and gear, I don't generally accept houses of less than $250,000 unless the agent/builder pays my minimum fees, which are calculated for houses of that cost.
If you're used to working with amateur photographers who walk into a room, and plant themselves in the corner with a fish eye lens, you're really going to appreciate the difference my processes make.
As I state several times, please fill out the form on this site, and I'll get back to you immediately.
It depends on several factors.
If the space is furnished, and we're doing VERY high end light painted interior shots, then yes. We'll also want the owner present, as well as at least two assistants. The reason is that in all likelihood we'll need to re-arrange the furniture to accomidate the photographic composition. I prefer to have an interior decorator or designer present to help direct this.
If you have a very specific composition in mind, you can go over that with me on the scouting day, but otherwise, it's not required.
The best light is always VERY early in the morning and right at dusk. Therefore, your schedule might not line up with the best time for me to be onsite.
Unless the job is very quick and basic, I'll be onsite all day, and thus you don't want to spend the whole day waiting.
If the owner requires it then yes.
If the house is not being lived in, and we're doing time lapse images, I will REQUIRE that the house be empty and locked up for the whole day, due to insurance for my gear.
For higher end listings, multi-million dollar+, I will require that all Real Estate jobs include a scouting day. This allows me to visit the site and take various readings such as compass and light, and determine what I need on the shoot day. This will take no more than an hour unless the property is huge.
Scouting day is scheduled AFTER the retainer has been collected but needs to be at least 48 hours to the shoot day.
Scouting days are NOT included in the base price of a listing, but for higher end jobs they are required in order to plan.
What do you need?
One or more listings with a value of $250k+
What else do we typically need?
My base fee is 0.1% of the list price of the property, before HDR/Pano/Cinematography, etc. and includes at least one finished shot per room, and two for larger rooms, and up to four outdoor. This is my base rate for up to 25 finished images.
All listings must be vacant at the time of photography for at least a full day. If the listing is not vacant I may cancel the shoot at clients expense. I may make acceptions for large enough projects wherein I can hire an assistant whose only job is to watch the gear. This is for insurance purposes.
Higher end properties may require many days of scouting and shooting. The final use of the images may dictate this.
Listing must be accessible both during the day AND after nightfall ( for more dramatic shots ).
Listings with many very large windows will cost extra / Listings with many stairs or are hard to reach will also cost extra.
Most jobs will require a scouting day, to allow me to walk through the entire area, take basic shots to help me plan, and note things like lighting, condition, etc.
Time - Properly evaluating a room for a high end interior shot requires hours of testing. Some room set ups respond well to a single shot with some lighting, others to HDR, some to a complex fusion of these techniques. It is impossible to determine the final invoice until the interiors have been shot.
Please make sure listing is thoroughly, and preferably professionally cleaned, and that cleaning supplies are available on the day of the shoot for touch ups. I do not clean houses. I don't move furniture, I don't touch anything. I create images. If you require additional help, I can hire assistants.
All other terms and conditions apply.
If you have a large volume of listings that are under the normal cut off of value that I work with, I have established a minimum fee structure. To take advantage of this price you MUST book ten listings at a time and pay upfront.
For a listing under $250,000:
$200 flat fee
What is included:
One hour onsite, in and out, to fit your busy schedule.
Up to 20 final images, all of which uphold the Eleven Core Standards* of Real Estate Photography that I have established.
Delivered next day or as "first in, first out" priority with other flat rate shoots. Flat rates do not include, and are not eligible for rush processing or upgrades.
Who is this for?
If you have a lot of listings that just need quality, but basic images, and aren't in a terrible hurry for them. For same day service, or multiple light, light painted, or other advanced techniques, please see my regular fee schedule, or just ask me for a quote.
* - I have a set of Eleven Core Standards that I uphold that very few competing providers uphold even ONE of. You'll see the list in the from here.
My Real Estate Photography Process breaks down to 15 major steps: ( which are laregely the same as the general workflow process, but streamlined in several areas )
1 - Initial Email Contact - Send me an email, introduce yourself, tell me about your needs. Or the inverse may be that you're here because I contacted you.
2 - Confirmation Email - I will almost always respond to emails within minutes. Certainly same day. I will ask a series of follow up questions to get a better idea of your needs. In the general sense the most important things I need to know is whether you're looking for one big listing, or many smaller listings, as the needs of those two types are very very different.
3 - Web Form Submission - All clients need to do this. This form gives me all of the info I need, whether it's for one job, or dozens.
4 - Formal Consultation - Either in person or via email ( I am perfectly comfortable doing all business via email ). We'll decide on the job parameters, and schedule. My work is 100% autonomous. As long as I can access the property, whether via owner or one of your assistants, you never need to leave your office or schedule special days to deal with the photography! Just keep selling those houses.
5 - Contract and Terms - I will deliver my contract and my Terms of Service for you to review and ask questions. I use a third party electronic contract service, complete with cloud storage and online metrics. Once I fill your info in, we can have the contract done and signed in as little as an hour, and you don't even have to schedule a meeting.
6 - Contact Signing - If you are booking only one listing, the details will be listed in the contract. If you are booking for a block or even a continuous series per month, it will be structured as such. All jobs require a retainer. This is when it is collected. For blocks, the retainer will be up to one month worth of listings.
7 - Scout Day - Usuall only for larger/more expensive listings. I will need an hour or so onsite to take compass readings, take a few test shots to determine the best settings for shoot day and gather any other info I need.
8 - Shoot Day - For most listings, this is one day. For very large or very complex listings, this may be multiple days.
9 - Import and Backup of Project - On Shoot day, all files are imported first to laptop, then to home system and double backup. This is a total of FOUR independant locations for raw files. I've never yet lost client files.
10 - Project Processing - Time varies with complexity. I may request additional feedback during this process and complete a first pass at proofs.
11 - Upload proofs to private server - I use an automated system to create an online gallery of all image proofs that uploads the images, and allows the client to make picks, comment, rate, and all privately. I use this information to make the final edits.
12 - Final Edits - Based on Proofs, the final images are completed, output, and delivered. My ENTIRE workflow process is completely digital and online based.
13 - Final Backup - Entire COMPLETED project is then backed up to double redundant backup. Originals are deleted. If I require the files again, they can be retrieved from archive later.
14 - Invoicing for final images - As per the Contract, all projects totalling less than $2500 CCUF require full payment up front, so there are no invoices for all but the largest Real Estate projects.
15 - Collection of final payment and closing of contract - For projects with ongoing listings, I will simply send a statement that the listing in question has been completed.