being a photographer

Why you should ask your photographer for a contract

I get every one of my clients to sign a contract. Some people are surprised, until I explain that the contract’s main purpose is to document my commitment to delivering their photos within a reasonable time and at the agreed price. Here, I’ll take a look at the main points that should be covered in a photographer’s contract.

Who, what, where and when

My contract begins by setting out my name and address as the photographer, and the name and address of my client. It explains briefly what I am going to photograph, where the shoot will take place, the date and the start and finish times.

It’s helpful for both parties to have these details down in black and white, in order to avoid any possible confusion.

Price

The contract should clearly state the agreed total price for the services to be provided, as well as the payment conditions – when a deposit needs to be paid, and when the balance is due. I also include a clause covering what will happen if, by agreement with the client, the shoot lasts longer than expected.

The goal here should be to remove any possible uncertainty or ambiguity about the price.

Licence and copyright

The contract should explain clearly when, where and in what way you may use the images that the photographer delivers, and what rights he or she retains. In my case, clients have an unlimited licence to use the images I deliver as soon as payment is complete. They are not permitted to sell the images, but they can print, distribute, and share them online, or make them available to others to print, distribute and share online, without having to pay anything extra.

I retain the copyright to the images, and the standard version of my contract gives me the right to use them myself. As I usually explain to clients, showing my past work is absolutely essential for winning new work. All the images on this website are displayed with the clients’ permission. Understandably, some clients do ask for complete privacy. I am always ready to respect their wishes at no extra charge, and amend the standard contract to reflect this.

Delivery

The contract should also make clear what the photographer is going to deliver, and how and when delivery will be made.

I deliver JPEG files – light ones for web and screen, and heavy ones for printing – using a file transfer service. In the contract, I commit to delivering within seven days of the end of the shoot, though in practice I almost always deliver within 48 hours and, by arrangement, even more quickly.

This is a point that is always worth checking. Just yesterday, I photographed a couple who told me that they had waited six weeks to receive their wedding photos, and I have friends who ended up waiting six months for theirs! Whether the photos are from a wedding, a corporate event, or just a portrait session, such delays are totally unacceptable, and I doubt these people would have entered into ageements with the photgraphers concerned if they had known in advance how long they would have to wait.

2021 in review

2021 was another roller-coaster ride for my photographic practice. After 18 months with virtually no corporate contracts of any kind, events and team shoots finally picked up in the autumn, only to come skidding to a halt again in December with the Omicron-induced cancellation of many end-of-year parties. At least I was able to keep the studio open for portrait work throughout the year, unlike in 2019.

Pre-Covid, corporate jobs accounted for around 55% of annual turnover. In 2020 that fell to just over 10%, but by the end of 2021 it was back up to 30%. In March 2020, I had adjusted my online marketing to focus exclusively on portraiture, and portrait work kept me busy throughout 2021 – 75% of it in the studio.

At the beginning of October, I raised my price for all on-location work to €150 per hour of shooting (post-production retouching included), but left the price for studio sessions at €100 per hour. Happily, this adjustment met no resistance from clients, who seemed to understand the rationale for the change.

Clients supported me in other ways, too. Many left positive reviews on my Google listing or on LinkedIn, and repeat business and word-of-mouth recommendations accounted for over a quarter of annual turnover. And 80% of my clients gave me permission to use the images I made for them to promote my services on my website and social media profiles. I understand the 20% who asked me treat their photos as confidential, and have of course respected their wishes. But since showing his work is really the only way a photographer can demonstrate his abilities, I am enormously grateful to the majority who allow me to do so.

My French-speaking clients increased again as a share of the total, and are now about 50/50 with the English-speakers.

Finally, I noticed a couple of trends that are probably due to changes in people’s working and childcare patterns brought about by the pandemic. First, I saw a significant increase in the proportion of clients who initially contacted me by telephone. Second, Wednesday has for several years been the day on which people contacted me most – over 25% of all enquiries. This proportion had already fallen in 2020, but in 2021 Wednesday became the least popular weekday for finding a photographer, with the largest number of enquiries coming in on Fridays.

2022 Calendar

As we approach the end of 2021, it’s once more time to look back and reflect on my year as a photographer. It’s been fantastic, despite the Covid restrictions which prevented any corporate work until the autumn. I’ve delivered 150 jobs, 30% of them from returning customers. I’m so grateful to all my clients for their confidence and for their overwhelmingly positive feedback. It really has been a pleasure.

As usual, I’ve sorted through the tens of thousands of images shot during the past 12 months in order to put together my calendar for the year ahead for family and friends. The photos I shot for clients are included with their kind permission.

Cover

Foire du Midi, Brussels, 13 August 2021
Nikon D850, 50mm f/1.4 lens, 1/250 sec at f/4.0, ISO 64

January

Girl in a hammock, Brussels, 13 June 2021
Nikon D850, 85mm f/1.8 lens, 1/250 sec at f/4.0, ISO 200

February

Brussels 20km race, 12 September 2021
Nikon D850, 300mm f/2.8 lens, 1/1000 sec at f/6.7, ISO 1100

March

Studio portrait of a young woman, 5 March 2021
Nikon D850, 85mm f/1.8 lens, 1/1000 sec at f/2.4, ISO 64

April

Studio portrait of a young boy, 18 October 2020
Nikon D850, 85mm f/1.8 lens, 1/250 sec at f/8.0, ISO 64

May

Birthday party, Brussels, 8 May 2021
Nikon D850, 50mm f/1.4 lens, 1/250 sec at f/8.0, ISO 400

June

Demonstration, central Brussels, 29 May 2021
Nikon D850, 24mm f/1.8 lens, 1/500 sec at f/8.0, ISO 100

July

Brussels 20km race, 12 September 2021
Nikon D850, 300mm f/2.8 lens, 1/1000 sec at f/5.6, ISO 800

August

Green Moon Tribe concert, Muziekpublique, Brussels, 16 June 2021
Nikon D850, 300mm f/2.8 lens, 1/250 sec at f/4.0, ISO 1600

September

Waiting for ice-cream, Rouge-Cloître, Brussels, 20 June 2021
Nikon D850, 85mm f/1.8 lens, 1/350 sec at f/4.0, ISO 64

October

In the gardens of the Palais Royal, Brussels, 12 August 2021
Nikon D850, 85mm f/1.8 lens, 1/250 sec at f/4.8, ISO 64

November

Three friends, late summer eveing, Ixelles, 8 October 2021
Fujifilm X100T, 23mm fixed lens, 1/125 sec at f/2.8, ISO 1600

December

Studio portrait of a young woman, 21 August 2021
Nikon D850, 85mm f/1.8 lens, 1/250 sec at f/2.8, ISO 64