Class Introduction
Lesson 1 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Class Introduction
Lesson 1 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Lessons
Class Introduction
05:06 2How To Get Work As A Food Photographer
02:54 3Understanding Your Skill Level and Your Market
03:20 4How To Grow Your Business
01:28 5Opportunities In Commercial Food Photography
08:17 6How Do You Market Yourself
08:23 7The Importance of Attitude and Communication
03:30 8Understanding Insurance Responsibilities and Liability
05:38Understanding Taxes and Accounting
03:11 10The Importance of Representation and How To Get It
09:59 11File Management and Protection
02:40 12Understanding Stock Photography as a Business
04:59 13Contracts: The Law and Your Rights
03:18 14Negotiating with Clients: 10 Questions you Need to Ask–Part 1
06:57 15Negotiating with Clients: 10 Questions you Need to Ask–Part 2
05:16 16Negotiating and Talking Money with Clients
02:31 17Who are the Players in Commercial Food Photography
09:43 18How to Manage Client Expectations
02:38 19How to Assemble a Team
04:11 20The Production Team
04:48 21On Set Support
04:51 22Editors and Post Production
02:47 23What Expenses are Associated with a Shoot
04:01 24What is Usage?
05:35 25How to Anticipate Expenses
02:56 26Calculating Price Based on Rates, Usage and Expenses
03:35 27Where do You Go Next?
03:17 28Continuing Education and Research
06:28 29How to Get your Work Out There and Get Noticed
02:47 30Treatments and Final Wrap-Up
06:23Lesson Info
Class Introduction
The object of this class is to give you a skill set to help you operate as a professional in our industry. And one of the things that and this is sort of a standard line that I've given on a number of occasions, is that when it comes to the things like pricing yourself as a professional, everybody would love an index card to put up over their desk so that every time they get the phone call and that somebody asked him a What is this cost? You can just say, Oh, it's gonna cost that. But you're gonna learn over the next couple of days that that question is very complicated and that you will have now have the skills after this class to be able to answer that question in a way that protects you. That gives you the best opportunity to make money that gives you the best opportunity to protect yourself from liability. All of the things that as a business person, you need to understand that Noto operate well in any industry, but particularly this industry, the things that are very specific to w...
hat we're going to do and the person who is going to gain the most from this class is the person who has kind of gotten to the point with their creative aspect of food photography, you already can make the picture. I'm gonna assume that everybody in the audience here can already make the picture. Now what do I do with that picture? What's what's the next step to that? So by the end of this course, what will really want to be doing is you want to figure out how you can market, you'll work. You want to be able to negotiate contracts with clients. You you want to be able tohave Ah, firm grasp on all of the ancillary pieces that are part of what we do is as business people in this in this industry. I'm standing up here and for today I'm the expert, but I'm still learning everything. There's always something new. I plug something into this presentation less than 24 hours ago about something I learned that was very important to how I do business. Because now, as we graduate to different levels, the rules change all the time. So we're gonna go over quite a few things in our chapters. We're gonna talk about getting work and what that means. We're obviously going to get into the meat and potatoes of business. So it's a lot of that sort of taxes and 10 90 nines and all the things that you either should know as a freelancer or a small business so that you can operate on both ends of that spectrum. Ah, we're gonna talk about negotiating what that means. We're gonna talk about client management and especially managing expectations of your clients and how what that really means in the real world. Um, assembling your team and that team could be just a partner or that team could be a room full of people and all the all of the permutations in between commercial. We're gonna do a shooting here. We're gonna actually going to recreate a commercial shoot where we have many of the players that you would have in a large commercial shoot. So this shoot is going to be with a restaurant client, which is something that you probably a lot of you familiar with, and that's sort of a lot of times the entry point to a lot of food photography is getting involved with the restaurant clients there, also one of the most challenging clients for a lot of reasons, and we'll go over those as well. We're going to talk about pricing and notice. I put that at the end of the presentation, not in the beginning, because I understand that pricing your work is not the first thing that happens in the negotiation. It shouldn't be. So when somebody asks you what's your rate? Well, walk them through all the other lessons first, and then give them a price. And that's why it's there. And at the very end, we're gonna talk about what's the next step for all of us. Why we always continuing trying to work through our, um, our process both creatively but also as a business person, because again, that's an evolving process that we have to go through constantly. You're constantly evolving. The industry's constantly evolving, particularly now we're talking about things that didn't exist when I first did the first course here, when I plugged in a two segment discussion about the business of food photography. Certain things didn't exist then, and it's challenging for artists at any level on I'm seeing it from entry level to people who have been working in the business for 20 years. Everybody is struggling with the changes that are happening and how fast they're happening. So if you feel anxious about it, you're not alone. On we go. Andy Warhol said that and the pop art movement was very interesting, kind of shift in dynamic in the idea of selling out. And we've heard this a lot as artists throughout time was that making money with your art is somewhat cheapens it Well, if you want to continue to make art, you need to sell it because of you, unless you have unlimited funds or you have a benefactor. I don't think the Domenici's are doing much these days, so you need to basically be a good business person. And being a good prisons person and a good artist is profitable if you understand how to work that