by Tim Gander

Case Study: Conference Photography

Conference venues have had a rough time in recent years. Events can be expensive to run, and sometimes they’re expensive to attend, so where businesses have dared spend the money at all, they’ve often seen photography as a luxury bolt-on.

In my role as conference photographer I noticed a decline in appetite for this particular service in 2008/2009, but looking back over 2010 I’d say demand has increased again.

Getting quality photography at a conference has often been pretty low on organisers’ lists of priorities – that is until the conference is over and someone wants to “PR” the event. At which point they discover that all they have are some iPhone snaps which aren’t much use for anything at all except maybe viewing on an iPhone.

scientist delivering conference presentation

Balancing lighting on the speaker and their presentation takes some effort.

I can tell a client hasn’t given too much thought to photography prior to the event when I get the call the week before it’s due to happen to ask if I’m available and what the cost would be. They booked the venue about a year in advance. They booked the speakers, sound, lighting, video, staging, caterers, cleaners door staff etc etc. And (relatively speaking) at 5 minutes to midnight, somebody thought: “Oh! I think we might want some pictures from this event!”

Now I applaud these people for thinking so far in advance because as I said, some don’t think of it until the event is over, by which time it’s a bit too late to go back in time to shoot what should have been shot in the first place.

So if your organisation is considering a conference, which after all can reap great benefits in public relations, client relations and exchange of ideas with partners and clients, I would urge you to consider the benefits of getting coverage, and of getting that coverage done professionally.

Conferences can be very useful in that unlike most other events or times of the working year, they tend to be the one time when a significant number of staff and executives are in one place at the same time. So think about getting fresh headshots done – a small setup in a side-room or quiet corner is ideal for this.

Regen SW conference debate in Bath

More obscure shots can be useful later on.

A conference with industry-wide or even public interest, has scope for extensive PR. Pictures of key speakers talking passionately at the lectern, or as a panel of experts can add spontaneity to what might otherwise be a dull PR shot. For other PR uses it’s handy to get a relaxed portrait of key speakers at the venue, perhaps with relevant props visible in the shot.

Employing a professional (like wot I is) means not only will you get the vital shots you need, but you’ll get quick turnaround and you’ll also get the shots you never even realised you needed. Those little details that others would walk past, but which come in handy for future uses such as brochures, annual reports etc.

Of course you might find you have a keen photographer amongst your staff, but do they know how to handle the difficult lighting at these events? Balancing light on the speaker with the slide behind them isn’t always easy. They’ll also tend to miss the details I mentioned, and they often can’t turn the work around quickly. Finally, using a member of staff is all very well, but shouldn’t they be paying attention to the conference rather than the settings on their camera?

I cover conferences of all sizes, taking pictures which clients can then use for internal and external communications, press releases, websites, brochures, future presentations; the list is limited only by one’s imagination. In terms of cost, the photography has to be one of the better value ingredients of a good conference. The food can only be eaten once, while the photography can be used again and again, long after the taste of plastic ham sandwiches and greasy tea has passed.

in Case Studies 4 comments
 by Tim Gander

From sperm to commercial photographer. An incredible journey!

Many a photographer will tell you they knew their calling right from the age they could hold a camera. Some will boast that they were checking out the possibilities of light and shade even from inside their mother’s womb. Well I can beat that; I was getting ready for the press photographer’s scrum even as I approached my mother’s egg.

Ok, I exaggerate a little there. The truth is, and to cut a soul-crushingly long story short, I’d known since leaving school that I wanted to take pictures for a living, but had no idea how to proceed until someone introduced me to the picture editor at The Bath Chronicle.

school boy feeling sad at school party.

I may have been happiest at “The Chron”. Not all my subjects felt the same way.

From work experience at The Chron to trusted freelance happened pretty quickly, and hitting the FFW button again brings us to where I wanted to be – working for national titles, specifically and almost exclusively for the News of the World, where I spent the best part of two years shooting celebrity nonsense.

However, a fairly terminal disagreement with “The Screws” meant a very sudden exit from the stable of photographers there. Something to do with them owing me about £3,000 in unpaid expenses and them not wanting to pay, as I recall. Nothing important…

So there I was, having dedicated a couple of years of my career almost exclusively to them, to the exclusion of my previously regular clients, and not a lot on the diary. So I picked up my book and tear sheets and started to call in at the other news and magazine picture desks. Strangely enough though, a fistful of cuttings from The Screws doesn’t exactly open doors at The Sunday Times or The Guardian. And after the constant stress and under-payment of one national, my heart wasn’t really in it any more. I could see the industry was going down the pan, and decided to turn the break into an opportunity.

Which brings us neatly to where I am today. I’ve taken my press training and experience, adapted to commercial photography, and combined the two disciplines to give my clients something a bit unique. This isn’t a sales pitch though, so moving swiftly on…

Of course I’ve also had to work on my business skills and adjust to the fact that I won’t get a bollocking for doing everything right. I’ve had to break the instinct to shoot all my pictures from behind a bush in the car park (I’ve found that tends to unnerve some people). But I do enjoy being given some creative freedom, being asked for picture ideas and not having to pee into a bottle in the back of a surveillance van.

I do miss press work sometimes though. When I see a big story break, I might wish I was there to cover it, but apart from the occasional magazine commission, I don’t work directly for newspapers any more. Taking into account all the costs of being equipped to do the job and running a professional service, the fees offered by the press mean they’ll be drawing on an ever dwindling number of professionals who can still afford the cost of working for them. I’ve grown up and moved on to where I can be of most use, and still make a living.

This article is soon to be a film starring Jim Broadbent and Matt Damon. If Matt can fit into the sperm suit.

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 by Tim Gander

What does the photography client want?

This maybe a dangerous question to ask, but then they don’t call me Mad Crazy Tim for nothing. Ok, so they don’t call me Mad Crazy Tim, but it’s a dull Wednesday morning and I’m struggling for jokes here…

I ask the question because while some of my articles are aimed at those with a passing interest in photography, some at designers and others at the voices in my head telling me to burn stuff, I’m also aware that existing and potential clients sometimes swing by and read these articles, so this time I’m asking them/you the question – cue close camera shot of my screen as I type, á la Carrie Bradshaw:

What does the photo-buying client want?

Hmm, that’s not as sexy as the stuff Carrie asks.

female with brain activity recording cap on.

If only I could read clients’ minds.

You see it’s all very well me putting up a website, getting it found, showing my work etc, but as with any business there are two sides. There is the quality, service and pricing structure I put out there, and then there is what the client actually wants from a photographer. And unless I ask the question every now and then, how can I possibly match what I offer to what you, the clients need and want?

I know many clients want a fast turnaround. They’re keen to get the ball rolling with their project, and waiting to see the results of a shoot can be frustrating. Especially now we all expect things to happen instantaneously through the web. I know when I order something from Amazon, I’m expecting the courier to be knocking on my door within seconds of me hitting the Confirm Order button. To this end, I aim to have the client gallery up within 24 hours. With afternoon and evening assignments the link is often with the client by the following morning. Even Amazon would struggle to compete with that speed of delivery.

And all this speed of service is fine and dandy, but I want to know what clients, either design or direct clients, want even before the shoot begins. How much involvement do you want from your photographer?

I know I’m always keen to speak to designers and their clients at the earliest possible stage. It means I can have input and also see how everyone else’s minds are working before I start taking pictures. I need to know what pictures the designers and clients have in their heads, because the last-minute brief may not convey this. But sometimes (ok, often) I can see I’ve been called long after the creative discussions have happened. Maybe that is what clients want, or maybe they don’t know it would be better to involve me sooner.

What else might clients and their designers expect? Ok, free photos would be nice but let’s stay in the real world here. What I mean is, is there some service, some input or anything else either before, during or after a shoot that clients wish could be done to help them?

This article is essentially a plea for help and information, because designers and businesses will often raise with me issues they’ve had with other photographers, but I know that unless I directly ask for feedback (which I often do) I might never hear good ideas on improving my service. I also ask because non clients have good ideas too.

Of course if I get no feedback at all, I’ll just have to assume I’m perfect, which is what I thought all along…

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 by Tim Gander

I’m sorry, your credit’s no good.

“If bylines were money, I’d have paid off the mortgage by now” so the saying I just made up goes.

Last week somebody emailed me saying they’d seen a photo on my blog which they liked, and could they reproduce it in their magazine. Of course they couldn’t pay me, but I’d get a byline next to the photo.

While trying to hammer out this article I received an email from someone else, working for a large representative trade body, asking if they could use one of my photos in a report. Again, payment would be in the form of “Photo by Tim Gander.”

I’m going to hazard a guess that there are people out there who live in a world where they work hard, but for no money whatsoever. They don’t need to because in the night while they’re asleep, the food fairies come and stock the fridge; the pixies and the mice come and sew beautiful clothes and shoes for them, working until their teeny tiny fingers bleed, so that when the magazine editor and the corporate communications director come down to a breakfast of fairy-baked muffins and Fairtrade coffee, everything they need is there for them. And they can leave the house they built out of hugs and smiles, drive to the office in the car that runs on love and angel wings, to put in another day’s unpaid graft.

This must be the case, because they assume I can work for free too. Unfortunately (despite my excellently fairytale surname) I don’t own a goose that lays golden eggs. My house isn’t visited in the night by waistcoated mice with sewing needles and bolts of beautiful yarn.

marilyn monroe look-a-like

A favourite request is for this Monroe lookalike shot.

Here’s the problem I have; I tried offering a brown envelope stuffed with bylined cuttings to my bank manager to pay off some of the mortgage, but apparently these are no longer considered legal tender in this country. They must have been once because the byline seems such a popular form of payment. Don’t get me wrong, bylines are nice but few people look at them, and they very rarely bring in new work. They do more for the photographer’s ego than his/ her bank balance.

A byline shouldn’t be seen as an alternative to payment. And the way web theft is going, I would go as far as to say that crediting the photographer in online use should become mandatory in all but the most tightly defined exceptions.

Personally, I love to help people whenever I can, but I can’t afford to give my work away for free. I don’t know anyone who can, and certainly not at the frequency with which these requests come to me. I’d also risk the wrath of fee-paying clients who have bought licences to my images.

I suppose I should be grateful that some people are still honest enough to ask, rather than just going ahead and stealing the photo and using it anyway. If you want a textbook example of wholesale copyright theft and its consequences, read up on the case of EPUK v LPA as it highlights the schism between what some people believe is perfectly acceptable netiquette, and what right-thinking people would view as theft. That story is still rumbling on, so I’ll leave it there as a festering reminder of what happens when people nick stuff off the web.

In the meantime, I’ll be happy that people ask me if they can use my work, so long as they’re not offended when I say yes, but not for free. Last time I checked, Tesco don’t accept my bylines either.

in Advice / My News 9 comments
 by Tim Gander

Crikey! Let’s save some money!

Many businesses are understandably looking to cut costs in these tricky times. Since the start of the credit crikey* one area where businesses have sought to cut those costs is in the photography they commission. They have looked to achieve this either through using more stock imagery (though that often ends up costing more than commissioned work) or by shooting the photos in-house, using whichever member of staff might be available and have a suitably “professional”-looking camera.

Of course I’ve watched as some of my own clients have gone through these motions, though I’m glad to say that for the most part they come back to me once they realise it’s not so easy to get the photos that help their business do better.

For many marketing managers though, the quest continues. The camera manufacturers keep putting out the hype about how their camera will help you shoot like a pro (didn’t the last camera they made promise that? and the one before it, and the one before that, and the one…) and off they go to the camera shop, or Amazon, with the company credit card in hand ready to splurge on the latest piece of Japanese jewelry, to the tune of a sum not dissimilar to a day’s fee for a properly-equipped professional who will have some things the Nikanon Powercool 1,000Ti won’t have; training, experience, an eye for what works and what doesn’t and a view of the design brief for the brochure or website into which the pictures need to sit.

barbary lion

Get closer with your iPhone. Go on, I want to see what happens…

So when I saw this headline “The iPhone Fashion Shoot” I thought “here we go again.” Or something along those lines. Because many will see such titles and think, well if the iPhone is good enough to shoot fashion photos then it’s good enough for the company headhots! To those people, I suggest reading the article first. It’s certainly interesting to see what is possible with a humble iPhone, several thousand pounds’ worth of lighting in a studio, with hair and makeup artists primping models to perfection, and after the shoot having all the shortcomings of the original shots taken out by a lab of Photoshop professionals.

The point is, it wouldn’t matter if the iPhone had the most incredible built-in camera in the world. The camera doesn’t take the picture, the photographer does, and the camera can’t even conceive a photo before it’s taken – again, that’s what the photographer does.

To the credit of the author of the iPhone piece, they admit the phone itself is just a tiny part of the process. In effect, they were just looking to see what was possible, regardless of the other requirements of the shoot, and to that extent it was an interesting experiment.

But if you have a company and an iPhone, or even a camera bag full of all sorts of expensive toys, I would suggest you think about the one piece missing from your Billingham bag of shiny things. The professional.

*A phrase I first saw used by the World’s greatest living wedding photographer.

in Advice 5 comments
 by Tim Gander

What price a portrait?

corporate portrait of businessman in Bristol

A corporate portrait can be more than a mugshot.

I should start by explaining that this article isn’t talking about family portraits or photos for the mantelpiece. What I’m talking about here is the business portrait. The corporate headshot for the profile page of a commercial website, newsletter or chairman’s statement in the annual report.

Why is this distinction important? Mainly for licensing reasons. If you go to a high street photographic studio and have photos taken you will probably pay about £30 for a sitting, and £100 for a print to hang on the wall. And personal use is all you’ll be allowed of that photo. Commercial use would require payment of an extra fee, and I suspect most studios wouldn’t be happy handing over an original digital file for that use as you could then get your own reprints done, which would of course breach the photographer’s copyright.

When you have a photographer visit your offices to take portraits for the company website/brochure etc, you’re not paying for prints for personal use (though you can probably buy those if you want), instead you’re paying a licence fee to use the images for corporate use. This is a different kind of agreement with the photographer and the pricing structure is different.

Of course if you book a photographer and then just have a single headhsot done, it can work out relatively expensive. Perhaps £250 to get a small selection of images for use across various media. But if you line up a few headshots to be taken at the same time, the cost will rise but the individual price for each headshot will drop quite dramatically.

It’s often quite difficult to explain this concept to clients who will say “well it’s only some portraits, they shouldn’t take long.” The thing is, in commercial and corporate photography, it isn’t just the time taken to get the shots that you’re being charged for, but also the commercial (as opposed to domestic) value of the photos. Remember, these photos are part of your marketing, and hopefully will help your business make more money. They may not be used as prominently as your product shots, or general photos of your business operation, but they’re all part of the mix and to have any value to your business, they have to be good. Which requires skill, time and equipment to achieve.

In short, you need to give the humble head and shoulders photo some respect and also understand that what you’re paying for is a combination of the photographer’s skill, experience and time on the commission, as well as a fee for the commercial exploitation of the results.

And what is that worth? As I said earlier, if you hire a photographer to take just one headshot you could easily pay £250 for that, maybe more. Get a batch of portraits done in half a day and the rate might rise to around £500, but if 10 portraits are done, that works out at £50 per head. That’s less than you’d pay for a 10-inch print to hang on your wall at home, and your clients can’t even see that photo. Unless they’ve broken into your house.

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 by Tim Gander

Decisions, decisions…

Since the start of the recession, many businesses have had to adjust to a new reality. Everyone is in competition with everyone else and the only growth sector has been the printing of money as the Government bailed out banks to prevent a crisis in the luxury yacht industry.

For most of us though it comes down to hard decisions on what we invest in to help grow our businesses and what we cut back on to save the bottom line. Do you lay off the chauffeur and spend the money you save on a new website? Sell your children’s kidneys to fund an advertising campaign? All difficult decisions. Since my children don’t smoke or drink and can function perfectly well with only one of each vital organ, it’s been a bit of a no-brainer for me (which is handy since I sold my brain), but some of you may have tougher choices to make.

So when it comes to deciding on whether to refresh the photography on your website, or buy a new iPad or new leather-faced office chair, let’s think about which of those things will help your business the most.

The chair is lovely to sit on, meaning you’ll spend more time at your desk fielding crank calls from angry customers or playing solitaire on the PC while pretending to fill in the forecast spreadsheet for next year. What good is a forecast anyway? You predicted 18% growth for the last financial year, only to have to revise it last-minute by adding a “-” to that figure so forecasts are as useful as business plans or bets on the dogs.

You’re not sure why, but in your heart you know the iPad will help grow your business. Ok, in your heart of hearts (the one that isn’t real so can’t be sold on the black market) you know you just “want” it because you do, but you’re desperate to justify the silly cost on what is essentially half a laptop with a solitaire app built in. Now you can pretend to fill in spreadsheets while on the move. Amazing.

yellow ice lolly

Whatever you sell, it needs to look ent”ice”ing.

This is the bit where I say tah-dah! and announce that what you really need is some top-notch photography because that is what will help your business in a very positive way, and right now your business needs all the help it can get.

So there I’ve said it. Get some decent corporate photography. It sounds self-serving for me to say it, and not as fun as a new executive chair or an iPad, but if you look back to the start of this piece I said that everyone is in competition with everyone else. If one truth can be truer than another, this one is: You’re not just in competition with other businesses in your sector. You’re in competition with every other business out there since most people only have a finite amount of money to spend, and more often than not they’ll spend it on the shiny things. Every business is in competition with every other business, and nowhere more so than on the web.

How can photography help? By using professional photography, in a professionally-designed website or brochure with well-written copy, properly set up for search engines, you can make your product or service more findable and desirable than not only your direct competitors offerings, but also all the indirect ones competing for the same pot of money.

After all, what was it made you desire the iPad and the shiny office chair? Was it the rubbish photography and the cheap-looking ad campaign and website?

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 by Tim Gander

Make these pictures move!

Now that camera manufacturers build video capability into their professional camera bodies, the question many photographers are asking themselves is, “why am I so hung over?” Shortly after that they ask themselves if they should be getting into this video malarkey by getting an SLR with a HD video doohickey built in.

It might be helpful to look at why camera makers did this in the first place. Or it might not, but it’s what I’m going to do anyway.

I have heard that the driving force for HD-capable stills cameras was originally the press agencies who wanted their staff to be able to shoot short video clips at news events to offer in addition to stills. I’m not entirely convinced by this, since shooting stills and video simultaneously is rather like juggling turds. It’s all going to get rather messy at some point.

My gut feeling is that the manufacturers decided they needed a new selling point for their equipment, which in every other regard has become about as sophisticated as it’s possible to get short of including a particle accelerator.

Hadron colliders being rather bulky (for now), video was the obvious choice, but they needed a valid reason to go to all the trouble, so suggested it might be a “good thing” to the picture agencies who probably said something along the lines of “knock yourselves out” – a ringing endorsement indeed.

And so it came to pass that Canon, Nikon, and probably some others which nobody bothers to buy much, built video into their pro cameras and said “Lo! for we have given the world of photojournalism the ability to multitask.” Marvellous.

portrait of rebecca adlington

Good luck shooting uprights on video.

But, this wasn’t the real reason for glueing a cine camera to a box brownie. The reality is camera manufacturers want these technologies to trickle down from the higher-end cameras to the consumer range in order that consumers, faced with the annoying fact that newer cameras can do something their poxy stills-only brick can’t, will upgrade to the newest, video-enabled model and consign their ancient, 9-month-old camera to Ebay or landfill.

Going back to the original question for professionals though, should you jump or be pushed into video, my advice is this: Bear in mind that within a few short months, every SLR will have HD video capability to some degree, and what might seem like a business advantage now (shooting high quality, cheap videos for smaller business clients) will quickly evaporate as the World and his spotty nephew equip themselves to do video just like the pro’s. Just like stills, the results will be mostly horrid and useless, but it’ll impress the boss that he can get video for “free” even if it costs him sales (he won’t notice that unless people start telling him how horrid his nephew’s efforts are, but nobody will tell him so he’ll never know).

In the meantime, being professional and understanding what’s required to achieve pro quality, you will spend thousands of Pounds on hardware and software to make video viable; you will spend weeks learning about panning, focus, lighting and sound, then converting, editing and encoding it all, only to find the prize is always just out of reach, and that clients will always want it much cheaper than it costs to produce. All this at the same time as discovering that in the commercial and weddings world, there’s already an army of well-equipped experts already doing what you hope to do. You’ll be trapped between Uncle Arthur with his video-capable Canon 60D (or whatever) shooting for free, and the seasoned video expert who has the technique, workflow and pricing honed to perfection.

Personally, I’d rather wait for the built-in CERN feature.

in Industry Comment 13 comments
 by Tim Gander

Oi! Tim! What’s the best photo you’ve ever taken?

I don’t much enjoy trying to answer that question (especially when it’s asked like that), but since it’s a question I get asked, well sometimes at least, I thought it might be an idea to do an article on it.

Probably the simplest answer is that I tend to like whichever was the best photo from my most recent assignment at the time of asking. I do tend to prefer more recent work, perhaps because with every brief, with each new location, there are challenges to be met and overcome and I still love to learn something new from each shoot. And maybe it’s that having a press background, I tend to see older work as having passed its sell-by date.

Of my press photography, I’d still say my favourites are my photo of Tony Blair campaigning in Oldham in 2001 and the portrait of Tony Benn in Bath. Those pictures seem to sum up the evangelical character of the former prime minister, while the other sums up the thoughtful, statesmanlike manner of Mr Benn. More recently, the unguarded shot of Richard Noble of the SSC Project pleased me in its informality and got a decent showing in Director magazine

news cutting bath chronicle 1992 election showing chris patten defeat

Capturing a historical moment has a certain buzz.

When I look at my recent commercial photography, I’m often drawn to the simple, relaxed corporate portraits, especially where I’ve captured something of the subject’s character, but I also have a fondness for the beekeeper portrait, which was not only tricky to light, but was tricky to shoot since I was in full protective gear and surrounded by bees at the time. The beekeeper was a decent chap too, and gave me some honey after the shoot. Of course, what’s important is how the photo looks, not what was involved in getting it to look that way, but each picture has an emotional attachment for the photographer, which is why we’re often the worst judges of our own work.

Looking at my gallery of public relations photography, I’d single out the portrait of the barbary lion, partly because he’s so handsome and also because everyone who sees that photo reacts with a “wow” or similar, which is always encouraging.

Apart from the lion, I’m quite fond of the PR photo which I took for the Organic Milk Suppliers Cooperative. The idea of making it look as though the fridges in the middle of a field might actually be working tickles me, and adds an extra dimension of interest to the shot.

portrait photo actress penelope keith

Actress Penelope Keith in mid-interview. Never published, but still a favourite.

There are many photos and assignments I’d rank as favourites, but going back beyond the last 12 years leads me to that period when I was a staff photographer, so don’t have the copyright in those shots, which means I can’t publish them here.

There’s the shoot I did in Norway with the Royal Marine Reservists, which included a striking shot of a marine bursting up through freezing lake water during a survival exercise, his shocked expression and the water droplets cascading from his hair making it almost uncomfortable to view the photo. Or the single frame I managed to get of HM The Queen arriving at Portsmouth Harbour train station on a drizzly night, simple headscarfe and clearly not expecting a photographer, though smiling all the same.

Delving even deeper into the past, I’ve featured here a couple of favourites from the very beginning of my career, when I freelanced for the Bath Chronicle. Now I think about it again, it isn’t just my recent work I’m happiest with. I think I have some pretty cracking older shots too…

How about you?

Whether you’re a professional or amateur, do you have a favourite of your own? Or perhaps there’s a photographer you admire, or a particular photo that sticks in your mind. Feel free to share your thoughts in the Comments section below.

in Older Work 10 comments
 by Tim Gander

Shouting from the Gallery

I’ve recently introduced a new system for presenting and delivering images to clients. I haven’t shouted about it to everyone yet because I felt it needed to be tested with some trusted clients first, but it’s proving so popular that I’m offering it to anyone I think can benefit from it.

Here’s how it works, but a little history first:

female corporate portrait

The system is great for keeping any commercial images organised.

It used to be I’d shoot an assignment, then make a web gallery from the images before any post production was carried out on them. The client would choose images from the gallery, send me the image reference numbers, and I would carry out post production and send the photos via CD, email or FTP.

The client would either have an agreed number of images included in the price, or would pay an hourly post production fee according to how many images they needed.

This was all well and good, except that most clients would end up choosing 30 images from a 30-image deal (for example) when they only needed maybe 12 images to start with. The rest they were picking just to make up the package, when they didn’t necessarily know how they might use those photos.

Now with the client-specific, interactive gallery, I do the shoot, edit the pictures, do post production on all remaining shots and upload them to the client gallery, from where the client can download the files they need, when they need them. The files are all ready to be published when the client sees them, and they don’t need to download the entire package of photos in one go. The gallery remains for as long as the client requires it, and indeed the client can have me add to the gallery with subsequent shoots.

This development has also allowed me to put together a more formal pricing structure for all those assignments which don’t have special, extra requirements in either equipment, travel or licence to use the images. In other words, standard corporate shoots.

You can download the rates card here Tim Gander Fees to see how it works. I put together three packages to suit different business sizes, types and picture needs, from an all-in option for the busy client with a need for quick access to lots of images over a period of time, to the startup that might just want to have a bank of images sitting safely there for them to buy as and when they need them, thus managing their cashflow better.

Of course there will be times when clients need more extensive rights to the images than my standard terms allow for, and there will be clients with a much lesser requirement, or shoots will be more or less complicated or expensive to run, in which case rates will be negotiated according to the assignment and the client’s needs, but this system will suit the majority of standard, corporate assignments.

I welcome feedback on this, so have a look and tell me what you think.

Tim Gander is a commercial photographer shooting corporate photos for businesses in the Bath, Bristol, Swindon and Salisbury areas of the South West of England, and has a habit of talking about himself in the third person.

Contact Tim on  07703 124412 or tim@timgander.co.uk

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