Food Photography Pricing How Much I Charge For It
Food Photography Pricing How Much I Charge For It
Food Photography Pricing. In today’s read we’re looking at pricing your work now I’m going to do this is a two-part first of all, I’m gon na select three different stages in my photography career, we’re gon na jump onto the computer.
I’M going to show you the quality of the workers producing and then how much I was charging was producing that quality of work and what’s my clients that looked like now, the second part of this read. I want you to send me in your work.
Let me know how much you’re charging and I’m gon na tell you what I think you should be charging or, if you’re just completely lost just say, so you can find my email address either within the Facebook group which I’ve been linked to below.
You can either send me a DM on Instagram and I’ll. Have a link to me. It’S gon na count below as well and I’ll. Send you an email address that you can send me some of your work to and some information and for the next read I’m gon na, be talking about your work and explaining exactly how I would approach the pricing of it away.
I think you could sort of maybe just a few little pieces here and there now I’ve been a photographer for over a decade. I started off my first ever invoice was for 75 pounds since then, I’ve charged considerably more, but it’s been a slow journey and it’s been a confused journey. Now I started off being a portrait photographer and I’ve ended up being a commercial food photographer very much trying make it all readm cohesive within this.
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So let’s jump into the computer. Look at my work and just read where I was where I came from and how my work has adapted over time and how the prices reflected that. So what we have here are a selection of images, the not in chronological order, because I took some good shots early on or some bad shots recently, and but hopefully they make the point.
So this is the first little selection of images, and what we have here are the cafe and restaurant photography. People – and this is where I started. I had a studio and part of my rental agreement was to photograph once a month, the menus and the cocktails and food and drink all that jazz for a local bar chain. Who happened to work in the property that I was renting now at the time.
I was a portrait photographer, so I was actually branding reasonable fees. For my portrait, work might be 500 pounds of shoots, but my feed work, as you can read here, pretty pretty bad and the sauce you can read is liquefied and leaking out. The colors look like they’re about to turn radioactive must wonder if the vibrancy there, the lighting, is just pounding in there.
If he’s a wrong shake modifier, if he’s not to Bank on these, so I’ve not got the great catch like someone said. Well, I didn’t want them back that I didn’t know about them and it’s just the styling is not right and not in terms of the styling of the food, more the choice of items within there. They’Re just ignore the next shot, but there we go. They weren’t great when I were when I was at this stage.
I probably could’ve got a local cafe to pay me a hundred and fifty pounds to photograph their entire menu and that’s fine. It is a valid starting point in your career and, if you’re at this point, we’re shooting for cafes, that’s about the budget, they have, they don’t have big books unless they were chained there for a chain that probably not hiring you they’re, also not gon na pay.
You more, if you get better, this is sort of a whatever you’re doing now this is it and when we get a bigger cafe or we become a chain we’ll move on to someone else and I’ve had that with clients, I’ve had clients move on to new Photographers because they’ve become a chain when I started out, and they won’t come back to me because even though now I’m sort of far beyond what they can afford or justify, they would never ask me for quite because they still read me as this photographer.
The amateur photographer the person who doesn’t really know how to conduct business the person who doesn’t really know how to shoot. You know a bit of a nightmare to work with lots of demands. You know all that sort of nuisance stuff that the beginner photographers have, and it’s part of the learning experience, there’s no shame. It was a fun time.
It was a good time I enjoyed doing this. I thought I was doing a good job. In hindsight I mean the drink is wonky. The raspberry is part frozen. That glass is dirty. It’S cracked at the bottom here, there’s stuff ray is awful. I mean I like the bokor, because when you’re beginning a photographer, it’s all about the bokeh.
You want to show everything at one point to one point: four one point eight get that blurry background, whereas, as you read as my work progresses we’re in the f10 f-16 field at the end of it, but this is a good beginner point now, if your portrait Photographer get in touch hang up an Instagram links below I want to do one of these for portrait.
Photographers money choose your work because I jumped out port right before I got to getting really good fees, so I’d love to use some of your work as examples with your top photographer a beginner. You stand away way wider, which category you fall into here right now. We’Re looking at these beginner photographers 150 pounds you’re, not making a living from this.
This is a starting point. This is where you put the work in to get better. You work out with your workflow systems, you’re, probably going to leave somebody’s work at some point and have a nightmare, but this is just practice time. This is where you’re learning so I carried on. I I never had a plan to be a food photographer and I started shooting more.
You can read here the cohesion so from this shot here, where the props don’t really make sense, apart from that put props on random backgrounds and the glasses are not great and the food looks okay, but it’s just it’s not a great feature. The composition is pretty bad on my part, and here we have a nicely composed image and I started to read the colors the triangles that the groups of three ways to sort of tell a story and bring the young around the board. Now, let’s not kid ourselves.
This is not groundbreaking work, but it started to get better now this shot with actually taken further a long time ago. I think Tom styled this. I might be wrong Tom will say if he styled this and the breath of background businesses now, isn’t it both style as well? He also did content creation. They did quite a lot. They have like a bit of a. I think each of them has their own independent sort of one-stop shop for social stuff, but this is a much better shot.
We’Ve got the the threes, the groupings of threes, the props make sense. Styling makes sense the whole setting makes sense. I know for a fact. I didn’t own any specific food kit back then I had a softbox, an 8 5 millimeter portrait lens and a canon camera, but my shots were getting better. There start to be more focused on the food, and this all stems made conversation I had with a photographer called Howard shooter, and he reviewed that early work that I showed you and he basically said the thing about being a food photographer, Scott that you have to Make the food look good and I was trying to get the lighting to look good, the post-production to look good everything I was trying to make look good, but not the food, whereas you’ll read the difference.
Hey, If you look at this food here, if we get back again to this food here or this drink, you can read how all of a sudden the food is. The hero, yes, is not groundbreaking work, but at this point I was charging about 800 pounds a day and the work here when is at this level – and this is not in chronological order – actually shot this when I was charging far more, but it wasn’t a great Shot, I just I didn’t, have it on the day, but the the quality of work here is usable for a small advert social media campaigns. 800 pounds a day is a pretty good, pretty good point when you’re at this. I don’t think it’s what I was charging at this stage, but you know the flat ladies they’ve got good styling again I shot this a lot later on in my career, but there’s a few faults with it.
You know it’s starting to look good, it’s time to look stylized, but I guarantee you, although they won’t be able to produce it for an ad campaign to brief there’ll, be someone with an iPhone doing better work than this and a lot of photography. It comes down to being able to do what you’re told not what you want. Anyone can take a pretty picture, that’s easy! What’S difficult is when the client has very specific requests and that you have to make them come to life. That’S where being a professional photographer comes in, and this is your 800 pounds a day work.
Your portfolio looks like this 800 pounds a day you onto a winner and again with these two shots: they’re good, but they’re, not perfect, they’re close, but they’re. Not quite there. There’S some faults with the composition, with the styling, with the prop source of a background to item options.
They’Re just you know it was part of a busy tes yeux week and things things will let slip. Those shouldn’t have been the camera angles, not quite right on this – that you can read. There’S like a pip missing here that I’ve not photoshopped image.
I’Ve actually fixed this post, but I found this version just to show you here the background we shot this with a hundred megapixel camera on a paper background which is a no-go if you print as it looks awful. This is on a wooden board. If your printer does have some really good, but this is you know, this is 800 pounds, maybe a thousand pounds a day – you’re, probably not getting license fee work.
At this point, I was actually shooting worldwide campaigns, but, of course you don’t nail every sheet, but this is the quality of what you should be producing consistently. This is like the worst shot you do should be coming out like this. Okay, this again was shot very. I think this is one of the first food photos I shot with a stylist in this studio and Sophie styled this, and it was on one of her backgrounds, I think, or Tom’s backgrounds, a core member, and I really liked it. It was a great shot. It always goes down well on social media.
It’S good for Instagram use for web content. Doesn’T print. Whoa is not good for portfolio, but it is good for like social media content and again I was charging around 800 pound to a thousand pounds a day. At this point again, this is the meat shot which is a bit of like a a test of how good you are at photography with food. If you can make warm meat, look okay, you’re doing good, and this we shot this a phase and Holly styled this.
The background is made out of the old potting things that these four trees and the Leicester City Center that went with scrapyard. I salvaged a bunch of them again, here’s a shot as part of a workshop, and you can read the complexity of the compositions improving. This is like a 1200 pound a day sort of level of work. These two are the story tellings there. This is a British pub garden.
We’Ve got the Sun dipping down below the trees casting this like nice, warm glow through here, whilst the rest of its in the shade. This is all created artificially in the studio, and we use like three four lights and gels. I went and chopped down a tree outside for a bit of a gobo. You know got the right beer selection, so it’s snack selections all that everything is here for this shot. There’S things we could do to make it at my current level of work.
But it’s now fallen out of favour with my style, but this here is your solid 1200 pounds a day, shooting ad campaign sort of work. When you can produce this, you can get a good story going on. That’S when you sort of get in to the point where people take notice, I think this year was shot for Delly France, and this was part of a monster, mammoth shoot. We shot an obscene amount of stuff over like an a day campaign and everything was this quality.
Everything was this quality. We must have delivered 300 shots at the end of it and they were all this good now. This is not groundbreaking works. It’S not one shot where we spent the whole day doing it that we nailed out this consistent flow of work. The foodless is coming out, it was shooting, it was. A small crew was 39 degrees, it was hot, it was sweaty, we worked our ass off and we’re just continually.
Every shot came out like this and again I’m not saying this is groundbreaking. Work in definitely isn’t, but the volume of work at this level that we produce over that week and a bit shooting was just all like this and that’s a good sign as the consistency, the continuity and it’s being able to pull it out. Whenever it’s asked. For. However, they want sir and again we’re sort of getting to that storytelling in the understanding of the shots.
The understanding of the rustic nurse with got the nineteen-fifties be LRT the metallized queues, the tray with the glasses on the smoked glass. It’S all starting to come together. In a story in everything makes sense, I forego back a bit just as fluent at the beginning. There’S no story, there’s no, there’s no, there’s no story there. It’S not saying anything. It’S just here have some food.
This is food and we come across to this hand. It’S like his food made pretty and then, as we venture further forward, we start to read the storytelling and the stories become more and more apparent, and this is where the images really start to become good. It’S not the technical ability which obviously you need for this, but it’s that storytelling by trying to bring people in to feel what it’s like to have the food.
I don’t read this differs genre to genre now. This is where we sort of get bit more stylized. Really understanding the difference in styles, storytelling, the ambience the feeling and then we sort of come towards my more recent work. Now, I’m not one for saying how much I charge per day, but the fee would be higher than before and we’d be looking at license fees, production fees and charging for camera usage.
Studio usage would be billing. On top of my day, rate for assistants, digital tags, retouches renting the studio on top of the fee and then the licensing fees as well they’re coming with it now it produced what better than this a long time ago. But there’s no chronology to this, because sometimes clients want you to produce weather, isn’t good and it pays the bills you just suck it up and do it.
But here we’ve got concept work. Now we actually copied this from another photographer a comment, but the name of the did on a white background with us a different vibe. We went for a pop-up version of his work that a YouTube read on its own behind the scenes and a food photo chief, want to read this. This is a test, shoot and but yeah. This is again. This is with the tercio, with Natalie from Wilbur and wolf who do the fabric sphere styling, and it’s just this next level.
The production of the asset, the styling, the storytelling. But what you’ll notice is the simplicity, because now, rather than having to have all these elements to tell the story, I sort of decided that. Actually, I want to tell the story as simply as possible and just get the point there, and this is when I noticed my feed that I was commanding just went up astronomically again pop art styling, very bold, very graphic.
This is your 1990s childhood here, it’s like a bit of coffee stuff to sort of thing you might read if Starbucks coaster, you know your beans, your grind, your filter, your cup, you drank your coffee stain. It’S like a storytelling, very simple, very graphic. It’S commercially viable, but it’s also in my personal taste, is what I think looks good, whereas when I was shooting this, this is what I thought.
People thought look good and they’re, two very different things now: they’re, both good images. Some people prefer this. Some will prefer this. This shot here commercially is worth far more than this shot. This is a pretty photograph. This would be well on Pinterest it as well an Instagram. This would be well with art buyers in ad campaigns. You know you can read this on a bus stop with Starbucks logo at the bottom of it.
It makes sense, so that is where the difference really comes in is when you can sort of read your work. Having that value to a customer, you know they’re, showing the journey through the coffee making process and that coffee making process might be something that brand is really trying to you roll down. It’S not just that.
We have cafes not that we have coffee, but this is the process we go through to make our coffee and again, with a 1990s childhood sort of theme, this particular image I’ve included at the end, because this is what all the art buys at the moment love This is the shot that everyone goes.
We live your spaghetti, heaps photographed and if I’d have readn this it’ll go way back here when I was at this point here, look on you, but this photographs way more fancy. It’S got the blurry background. You know he’s got the shallow depth of field. You just got a plate of spaghetti heaps, but there’s a couple of things here, which you pick them up as you go along. This is showing that, yes, I understand the simplicity.
I’Ve got the first one brave enough to do this and I’ll be honest. I kept this hidden for two months of shooting it a month of shooting even is one light, but the light is perfectly placed is meted evenly across the scene, the catch lights and the correct spaces and the hoops the heaps look randomly placed.
But I’ll tell you what they are not randomly placed and it’s choosing the right item to put in front of the lens and that’s where it comes in, is knowing what sells what’s important, what will conjure up that image of your childhood and if you’re, British and You’Re, 30 years old, spaghetti hoops is probably on taste during your childhood.
So there’s three very different price points here and I think when you’re starting out you’re probably going to be shooting for restaurants for small chests as more cookbooks, and you look at maybe a hundred and fifty pounds and then it’s not a case. It goes. 200. 300. 400, there is no 400 pound food photo shoot.
Nobody has that money, it’s too much for the small cafes, but it’s not enough for the bigger brands and they’re gon na be like. Oh, that’s a bit cheap.
That might go wrong. What, after then, spend another 800 pounds of sort of goes 150 200, then he jumped to about 800 pounds a day when your work is really focusing on the food, and you start to understand the food and then maybe up to a thousand twelve hundred a day When the storytelling aspect comes into it, and you start to understand, it’s not just making the food look good, it’s the context, it’s the storytelling! It’S the journey! It’S trying to go! Look here you are, the British big autumn should live to being right now. Unlocked it’s sunset, is 9 p.m.
On a summer’s day, the trees at the back of the garden, the Sun streaming through you’ve got your snacks. You’Ve got your beers, you know it’s all there and then it’s what we looking at this shot here just reminds with a continuity that you have to be able to produce it shot after shot after shot and quickly that turn around each perfectly right that shots done. Scrap it clean it next shot down new background, new props, bring it in get the stylist working.
You know by this point here you need to work with the stylist. You can’t do this by yourself. This shot is too big to produce by yourself. You need a stylist or two and then, as you start to find the styles and you start to go, I’ve learnt the basics of food chocolate.
What do I want to do now? What do I think looks good and, for me, is this: this is what I think looks good as bold, it’s graphic and it’s minimal, and that I really like – and this is where my fee sort of skyrocketed and the production cost went up. The licensing fees stayed about the same, I’m going to a separate read and licensing coming up soon as to do come back.
If you want to read that, but this is sort of where it was – and you know I just thought minimal is what I want to do now. If you get to the stage me about to hit this slide in your career and you get, you know what I like are these big flat? Ladies, I want to be shooting for Marks and Spencers.