In our initial post about this series created by Tim Hawley for Samsonite, we noted we would follow up with him to learn more about how he came up with pricing for this very complicated project. The fact the images were unflattened was further complicated because there were so many media requests, as well as an additional request for expanded usage in major international markets.
Initially, the pricing was based on two-year usage in U.S. and Canada for print, web, POS, and outdoor. Once the client saw how valuable the images were to the brand and its identity, the client requested expanded usage internationally to include Asia, Europe, Australia, and New Zealand. Additionally, they wanted to look at the difference between two-year, five-year, and unlimited time spans, as well as the option for ability to deconstruct the layered files and use some parts for digital video. This added numerous layers of complexity to the issue of pricing.
Obviously, expanding previously agreed upon usage is an opportunity for a photographer to charge more for the job. In determining the final price for additional usage, Tim began by estimating the additional value of time, geography, and media for the three ads compared to the market they had already paid for. He also asked himself what the additional time, geography, and media was worth for the fifteen or so photos used to create each ad. That’s a big difference, but as Tim said, “I decided the answer was to charge a fair price for the three ads and make sure the client understood they were getting fifteen photos for that price. I took into consideration the client already paid for the production and original usage and did not plan on additional costs. I was also aware of how much providing this art would save the offices in those markets where it is to be used because those offices and agencies would not have to go through the process of creating their own ads for that market. This led to a well-researched result that was balanced and equitable for both of us.”
Interestingly, when we asked Tim about the issue of handing over unflattened files for this set of complex imagery he felt confident his copyright was protected. He told us working with sophisticated clients and agencies like Samsonite and Connelly Partners all but guarantees each party is protected. He did express another concern, though. “I am more concerned about the consistency with which the files are handled. With so many layers of elements (up to fifteen per image) and multiple adjustment layers, it could be easy to miss something when deconstructing them. I try to keep the layered files I deliver as simple and compact as possible so the client has the versatility without the confusion. It’s all about thinking ahead and servicing the client’s needs.”
It’s also noteworthy to add that the alignment of creative vision on the part of the photographer, art director, and client, the available budget, and the resulting industry recognition (CA Photo Award of Excellence
) that occurred on this project are not something which happens every day.