Treatments and Final Wrap-Up
Lesson 30 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Treatments and Final Wrap-Up
Lesson 30 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Lesson Info
30. Treatments and Final Wrap-Up
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
Treatments and Final Wrap-Up
Now I want to talk a little bit about treatments. I'm going to spend a little time here because this was born out of yesterday's. So I want to go over to cover page from This was the treatment I did for a ah big food chain, which has been blurred out. Can't see it. You might be able to figure it out, but it's blurred out, and you on this, you would put this is a cover page. Now I do what's called full Bleed, um, treatments because and I also use my own photography. As a photographer, you would use your own photography, but as a director, that's very unusual. This is actually a directorial treatment, but they go hand in hand in how you how you apply the work. So this would been the client pay thing on the cover page treatment by me. This is my production company that I work for, and this would have been the advertising company that's also blurred out. So this would be your opening page for this. So if you're preparing a treatment for a particular client, this is what that kind of cover ...
page would look like. And that's what would be industry standard so that if that arrives at the desk off an art director, they would know exactly that. You know what you're doing. You want to put really strong, arresting images that fit into the creative that they're talking about. This happened to be about biscuits, so I pulled imagery from my archive That was biscuit E biscuit adjacent. Now we're gonna walk through the creative and this text here, which is blurred out so that you don't know who I'm talking about will go to reflect different aspects of the creative call that you discussed with the team. So you've been asked to do a job and bid on a job. You've been asked a bid on a job. So they ask you to take a creative call so that might be in person. Or it might be a conference call where the whole bunch of people there and we're all talking about what's division for this particular project in this particular client? Great. You have your team on the phone, they have their team on the phone. People are taking notes. People of recording the phone call. Trust me, it's intense. So after the call is over. I get a transcript of the call from somebody in my production company with things highlighted or bold ID words, keywords, things that kept coming up in the conversation that they want me to respond to in my treatment. So that means that I'm gonna talk about very specific things and use language that reflects what they were saying to me. So I'm feeding them back what they fed to me, which shows two things subliminally for them. They're hearing their own voice. And secondly, they know I was paying attention. And you want to consistently put imagery that maybe not Onley shows. See, now these are biscuit adjacent, but here I might be talking about lighting. I might not be talking about the so every section of this would be reacting to a portion of the creative call. So we're gonna talk about in a creative call. You might talk about the propping lighting Every element is atomized in that discussion where the camera's gonna be so obviously, I have shown three images so far and they've all been from the same angle because they make basically made it clear that this is the angle we want to shoot from because I've already looked at a com page. So I find imagery that fits the com page. But one of them is about texture. One is about lighting. One of them is about propping, and I write dialogue to support that. And when you build these treatments and you have and you'll see there's resource is online, if you put it in and say photographers treatment, you'll get a model for it like five page model, and you probably can do it and in design. Or you could do it in one of those programs where you're able to import text into photographs and you print them out and you email the pdf and everybody has a copy of it and they're flipping through it and they're reading it and they're looking at it and they're saying whether or not they think you are the person for the job, these air so important and they're so hard to do. But there are essential to understand as part of the process because the first time you get asked to do one, and if you didn't like me, you didn't know what the heck they were. You're at a huge disadvantage. And I put myself in a hole with the particular advertising agency and somebody who loved my work but clearly saw me as only an editorial photographer after that. So we have come to the end here. We have reached the end of our two days. And what I'm hoping is that I have provided you with enough ammunition to go out and arm yourselves with knowledge to help you grow your business as a commercial food photographer where you have a better sense of how to price yourself. Ah, more confidence in the way you can negotiate, how to build your team, how toe speak and operate on set and all of the things that we've talked about, as well as pulling all your resource is together, whether that be continuing education or just being able to navigate the rest of the of the visual food visual world in a way that it helps you maintain success where you are and grow beyond here so you can find me at my name if you can spell it pretty much everywhere. So like, I was pretty secure in the fact that no one else had it and I use my full name on pretty much everything, including my website and my email. So if you can spell my name, you can find me. And I would love to see you on social media. Uh, and there we are. So, um, share your information with me as well. Let me know. You watched if you're online, and I would love to see what you're up to, so