How to Manage Client Expectations
Lesson 18 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
How to Manage Client Expectations
Lesson 18 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
How to Manage Client Expectations
We will also talk here about managing expectations, and I put that turkey on there for a reason. Right, because the turkey is one of the hardest things to photograph, and the expectations will usually sky high as to how, um, you know you're gonna manage that situation because it's such an iconic thing to photograph. And if you don't manage that well, that could be one of those situations where there's a lot of disappointment. But as far as managing expectations were clients, all clients matter. What you're promising them or what you're negotiating with them is about what's possible for the budget they want pay. It's always important to intimate in a negotiation with a client and managing their expectations. To say The more money you throw with this, the better your production is gonna be. No, you don't have to be that blunt about it, But you hint at the idea off that more money equals better quality. Get what you pay for, and that's about managing expectations, because if you intimate ...
at that without being so hard about it, that yeah, I think we can really do this. But if we had a little bit more in the budget. I know we can do this a little bit differently, and I know that's going to really turn out really well because I can hire this stylist and she costs a little bit more. But she's great and she's gonna make the food look good and all of that. And then all of a sudden the expectation of the client says, Oh, I get it, I get it. I understand So you're working on a project and there's already some creative that's been kind of tossed around and this really speaks to advertising with anything else. But it's not impossible that there's camps thrown your way for all kinds of work. So you get this comparable and you look at it and you say Okay, I can make that picture and you just lost because the client is looking at something that's not really you can't promise that you can make the company because they fall in love with the calm shot because it's usually created by an agency art director who pulled out all the stops because they want to impress the client and then you can't match that cause it's the food is impossible to make it look that way, and I can't tell you how many times I've seen this happen, so you have to be able to manage the expectations off the camp. So when you're in the creative meeting, you need to point out the flaws in the camp and say, That's really nice, but I don't know that the food will behave that way. And this comes with all that experience that you're gathering with being familiarized with your stylists and understanding what you're propping, conduce and understanding how much can be done in post production.