Originally Posted by
Frank Petronio
I think the client is probably looking for photos in Domenico's short depth of field, creamy style rather than a generic catalog shot. I hope that is the case!
While you probably haven't done much product photography there is no reason you can't do something wonderful.
In most cases, jewelry will benefit from a single hard light source with subtle fill cards, rather than the typical bland catalog type photographer approach of soft boxing everything or using a "tent". I think that may work the best with your style anyway. So you might consider placing a hot tungsten light up high on a light stand to add a sparkle and highlight to the reflections, even if you are using natural light for the main lighting.
Pricing really depends on the value to the client, and that depends on the ad buy and how much better your photography will sell the products versus some generic shot. If you figure that a single page in a national magazine might cost anywhere from $25,000 to over $100,000 per insert, times the entire campaign, you could be looking at pretty large budgets. I try to calculate that I'm worth at least 1-2% of that budget. Of course if the campaign's entire budget is only $50,000 then you need to be more aggressive and look for at least $1500 or so. But for instance, my friend did a ad campaign for American Airlines that had a $3 million budget, and getting $30,000 to $60,000 for his photography was entirely plausable. Even though half the people on this forum probably could have duplicated or bettered the half dozen travel shots he did for the campaign. But the reason they chose him instead of you is that he can tolerate all the bullshit of having ten client people on location with him. And he can figure out how to make it look like he is diligently working and taking twelve hours to do a simple ass photo of a pretty girl on a beach because he unloads a dozen cases and has a crew and all the crap that impresses some suit from Atlanta. So he earns it, don't worry.
For catalogs and websites you don't get to think that way and they pay a helluvalot less. But don't do anything too cheaply. Hold a moderately high price and negotiate usage rather than price. It is far easier to give in and let them have an additional year's usage or let them have international rather than just North American rights to get the job -- than it is to give up cash!
Many commercial photographers who use film still deliver a final, retouched digital file. So use the film you like to use, don't worry about dogma or silly expectations. They are hiring you because you are unique.
While you are negotiating try to clarify how much you'll be "directed" versus left to your own better judgement. Will they be there manipulating the jewelry and expecting to see Polaroids of every tiny adjustment? Or will they give you the goods and let you do your best take? (Which is much nicer.) And also who will edit the photos and make choices. Never submit anything to the client that you don't want them to choose because they almost always choose the worst picture.
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