Next time you’re planning to update the photography for your corporate communications, why not consider allowing some additional creative time within the session? Allowing some creative space beyond the brief could result in some interesting results.
An excellent example of this is from November last year when I was commissioned to create new team head shots for business data analysts Kaiasm – I’m massively paraphrasing what they do for the sake of brevity.
There was one shot which I pretty much took as a bit of a joke; I’d noticed how the data graph behind the founder Liam McGee’s head made him look like he had a halo. When I mentioned this to him, he obliged with a suitable pose and expression and I took the shot.
The photo was included in the final edit because I know clients often enjoy the odd outtake in their set, but I didn’t expect to see it used.
A couple of weeks later, the local paper ran the photo with an article about Kaiasm and their pending expansion plans.
So allowing some creative freedom and a dollop of humour can lead to unexpectedly useful results. That photo will have drawn far more attention to the article than any plain headshot or stock image of the office would have done, and will have conveyed Kaiasm as a business run by human beings, not robots.
Bear in mind the creative possibilities, even the occasional happy accident afforded by engaging a professional photographer, and you may find the results are a revelation.
It’s a chicken and egg sort of scenario; you need a photographer for your next project, be that headshots, a PR campaign or website refresh, but you don’t know what the cost will be. If you look around on photographers’ websites you might get an idea from their fees pages (most photographers don’t publish guideline fees, which can be unhelpful), but even then, you don’t know what the budget should be.
In the meantime, the CEO or company accountant will want to set a budget for you to go and spend without exceeding it, but they won’t necessarily know what’s involved or what a photographer is likely to charge.
The other problem is you might not know how much time will be required to get what you need. It’s likely it isn’t your job to know, because you probably don’t book photography regularly enough to get a feel for what can be achieved in a given time period. Well, let me simplify and shorten the process of working out what you should be looking to spend.
Bear in mind events, conferences and large gatherings tend to generate more images which can affect fees
Start with the brief. I set out here what’s required in a brief and it’s important to make sure you have some idea of how many photos are required and what they are to be of. Take into account that mixing headshots, product shots, more feature-friendly portraits and other disciplines will extend the amount of time required because each will need a different set-up. Lighting, lenses and location will often change from one scenario to the next.
Now look at what uses the images will be put to. List them all from social media to local press/public relations (PR), trade PR, national PR, through company website, brochure, pitch documents and general corporate communications and also say if they’re going to be used in advertising. This is really important because any photographer worth their salt will set fees to reflect the levels of use you require (my standard fees cover all uses from social media, through press/public relations to company website use, but paid-for advertising is negotiated separately).
If it’s an event with set timings, look at the time period for which coverage is required. Having a start and finish time will help define the time the photographer needs to spend on site.
Consider any special requirements; props, backdrops, locations, transport and so on.
All of this can be talked through with a photographer, but the more information you have from the start, the easier it’ll be for a photographer to put an estimate together. Every so often I’ll get an email asking how much I’ll charge for “some photos,” which really isn’t enough information to work on.
Once you have a reasonable idea of what’s required, you can start to find photographers who cover the kind of work you need to get done. Use relevant search terms (discipline and location i.e. “corporate photographer Bristol”) in a search engine to find what you need. Check out online portfolios for the quality, style and content which most closely matches your brief, then call or email the most likely-looking candidates.
Of course I can’t speak for other photographers, but armed with this level of information I can help a client choose which of my fee packages will best suit their needs. It might be we have to negotiate on elements which don’t fit the standard fees, or it might be a reduced fee will cover everything. On the whole I find my fee structure helps the client get what they need with the minimum of admin and to-ing and fro-ing over details.
Even with a fairly detailed brief, I like to follow up an enquiry with a phone call just to clarify any points I need more information on and also to introduce myself personally to the client. It’s good to know who you’re going to be working with, and that cuts both ways.
This might seem like a bit of an effort, but it’s well worth it to get the best from the photographer before, during and after the event. Next week I’ll expand on how photographers set their fees and where I fit in the market. I bet you can’t wait!
Provided the brief is fulfilled, off-brief shots like this are very useful
The photographer’s brief is one of the most important precursors to a successful photo session, so it’s worth giving it proper consideration, but if your day job doesn’t revolve around briefing photographers it can be a daunting task to tackle.
Don’t worry though, even when I was dealing with briefs as a staff photographer at The Portsmouth News, it was incredible how many reporters would turn in incomplete briefs. So if you struggle to know what to include, you’re in good company. This article will help you hit the main points required, but if you follow the Who, What, When, Where and Why principle of photojournalism, you’ve pretty much nailed it.
Where and When:
Date, time and location. Without any one of these three you’re on rocky ground before you’ve started. Set them out clearly and fully; just saying “I’ll see you on the 12th” isn’t the same as “Date: 12th September 2014”.
The location address needs to be complete too. I often use sat nav or Google Maps to find a location and an accurate post code helps especially where there are similar road names within the same town or city. Occasionally a post code can bring up a doubtful-looking address, at which point I’ll double-check the location with my client. If the post code and street don’t match up, directions are essential.
As part of the address etc, make sure there is a contact name and number. This should have become apparent during early contact, but make sure it’s all on the brief too.
Who and What:
Is it a series of portraits or is it processes, locations or maybe products which are to be photographed?
It’s incredibly useful to have the names of people to be photographed. These can be ticked off as they’re done. The same with locations and products. These details also make captioning the images later much easier. If it’s products or processes, make sure to use full descriptions rather than acronyms so captions can be completed fully.
In editorial photography the Who What When Where and Why make up the cornerstones of an accurate caption, describing as they do the contents of the photos, but in corporate communications photography the Why is more about why the image is being taken and what it is to be used for. If I know a photo is to be a cover image for a brochure, I’ll approach it differently to if it’s going to end up as a narrow banner at the top of a web page.
The Creative Brief:
This is the more enjoyable part of raising a brief and will be an amalgam of what you already know you need combined with discussion with me at the planning stage. Thinking about what you need for the project in hand as well as thinking about what future uses might be made of the photos will help in working out how many images and what scenarios are required and finally how much time will be required overall.
In terms of time required, you might already have an idea of what time and budget you can allocate to the photo session and these will have a bearing on whether the brief needs to be adjusted. It’s worth ensuring there is some slack in the schedule to allow for the unforeseen or un-planned off-brief photos, which can be incredibly useful later.
Some practicalities on the day:
Parking and access to the building or site. The majority of my work requires more kit than I can easily carry, which tends to rule out public transport. Make sure there is space to park, preferably near the building entrance or wherever equipment needs to be set up. If off-site parking is the only option I need to know in advance so I can plan my arrival time accordingly.
If a room is set aside for staff portraits, make sure it is the right size (I can advise on this during the planning stage) and isn’t filled with chairs and immovable tables or other furniture. If the photos are to be taken around the offices or production floor, make sure as much as possible that locations are clean and tidy and that anyone to be featured is complying with health and safety regulations – I can’t always know what these are, and it’s such a shame to ditch a great photo because someone is wearing the wrong high-visibility vest for the task they’re doing.
Decisions on location can sometimes be decided upon my arrival, but time has to be allowed for clearing and tidying within the allocated shoot slot.
Cameras are machines, photographers are people. Don’t forget comfort breaks and if it’s a full-day shoot, lunch is a must to keep the little creative cells going.
Attempting to cover all eventualities in this article is likely to miss some possible scenarios, but provided you approach the brief as outlined above, you’ll be a long way down the path of getting it right. Certainly I’m always happy to help and guide clients before the shoot because the better it goes, the happier everyone is.
If you have any questions about anything here, why not post a comment or drop me a line?