What do you mean by retouched files exactly? I used to deliver 700+ retouched files for weddings - but those were only Lightroom retouched for crop/contrast/color/toning, with each individually worked on vs a using presets. Then I'd have an additional 20-30 or so for advanced retouching - Photoshop. Everything else was extra $. I learned to edit fast, so it would take me a few days. With editorial, I often have to turn around photos the next day, but that's part of the process, and there is always a digital fee with magazines. For commercial, if anyone wants photos asap I charge them a rush processing fee.
I hope to goodness that it’s just Lightroom batch edits but I know a wedding photographer who by-hand-in-Photoshop edits 500+ deliverable files and she’s always stressed out and months behind and I worry for her and those like her that they’re gonna burn out!
And I need to get back to the rush fees I used to be good at charging. I’m sadly out of practice.
Lightroom, but not really batch. I do a batch edit and then I go back to tweak (or often rework) each individual file. But Photoshop is a much more painstaking process. Shortcuts really help though.
Personally I’ll Lightroom-edit everything that I return to the customer - that’ll include batch editing everything that’s fit to print (usually with a few presets, or presets created for this batch) then ‘tweaking’ virtually every image. I can’t bring myself to return ‘unprocessed’ images to the customer… partly because I just can’t, partly because as sure as eggs is eggs, those are the ones that they’ll choose to put all over their Facebook!
probably while being underwater trying to deliver files on unreasonable timelines! It’s tricky, and I struggle with the same issue. Sort of a “hero complex” always wanting to save the day. But yes, it’s not good self care. The funny thing is I often encourage my freelance retouchers to charge rush fees, and just recently animal trainers who were asked to do a super fast casting, but I’ve yet to do it for myself. I will advocate for them but not for me. Gotta work on that. Maybe it’s a matter of asking the question up front on every project and placing that fee in the estimate where they can see it. Once I’ve agreed to an estimate it’s hard to add additional fees, even when they change the timeline. Makes me feel petty. Even though it’s totally justified. Boundaries!
Thanks so much for this comment. Glad to know you share my pain. This sentence—“I will advocate for them but not for me” really resonates. I assume it has something to do with not wanting to seem greedy, or some other strange deep seated angst. But when it’s on somebody else, it’s still being a “good guy” to go to bat for them.
The business norms in commercial photography do no longer exist. The expectations of the new generation of artbuyers are beyond the pale. I consider myself lucky when I get them to agree to a photographer's fee that includes all the usage. I'm happy to see you so busy, send some of that good karma my way.
P.S. I met a young photographer the other day that charges by the hour. I didn't engage, maybe they are onto something, but I was thinking to myself: "What the hell are you doing?"
I charge by the hour, or at least I work out my quote that way: included in that estimate are hours travelling, hours shooting and hours editing. I then use that to offer a (discounted) package price to the customer, or if they prefer, an hourly rate with the price to be calculated after the job. Most go for the package price.
What do you mean by retouched files exactly? I used to deliver 700+ retouched files for weddings - but those were only Lightroom retouched for crop/contrast/color/toning, with each individually worked on vs a using presets. Then I'd have an additional 20-30 or so for advanced retouching - Photoshop. Everything else was extra $. I learned to edit fast, so it would take me a few days. With editorial, I often have to turn around photos the next day, but that's part of the process, and there is always a digital fee with magazines. For commercial, if anyone wants photos asap I charge them a rush processing fee.
I hope to goodness that it’s just Lightroom batch edits but I know a wedding photographer who by-hand-in-Photoshop edits 500+ deliverable files and she’s always stressed out and months behind and I worry for her and those like her that they’re gonna burn out!
And I need to get back to the rush fees I used to be good at charging. I’m sadly out of practice.
Lightroom, but not really batch. I do a batch edit and then I go back to tweak (or often rework) each individual file. But Photoshop is a much more painstaking process. Shortcuts really help though.
What do you mean by ‘shortcuts’?
Personally I’ll Lightroom-edit everything that I return to the customer - that’ll include batch editing everything that’s fit to print (usually with a few presets, or presets created for this batch) then ‘tweaking’ virtually every image. I can’t bring myself to return ‘unprocessed’ images to the customer… partly because I just can’t, partly because as sure as eggs is eggs, those are the ones that they’ll choose to put all over their Facebook!
This was a good one that I somehow missed,
probably while being underwater trying to deliver files on unreasonable timelines! It’s tricky, and I struggle with the same issue. Sort of a “hero complex” always wanting to save the day. But yes, it’s not good self care. The funny thing is I often encourage my freelance retouchers to charge rush fees, and just recently animal trainers who were asked to do a super fast casting, but I’ve yet to do it for myself. I will advocate for them but not for me. Gotta work on that. Maybe it’s a matter of asking the question up front on every project and placing that fee in the estimate where they can see it. Once I’ve agreed to an estimate it’s hard to add additional fees, even when they change the timeline. Makes me feel petty. Even though it’s totally justified. Boundaries!
Thanks so much for this comment. Glad to know you share my pain. This sentence—“I will advocate for them but not for me” really resonates. I assume it has something to do with not wanting to seem greedy, or some other strange deep seated angst. But when it’s on somebody else, it’s still being a “good guy” to go to bat for them.
The business norms in commercial photography do no longer exist. The expectations of the new generation of artbuyers are beyond the pale. I consider myself lucky when I get them to agree to a photographer's fee that includes all the usage. I'm happy to see you so busy, send some of that good karma my way.
This is it exactly. Everything that used to seem standard is now out the window. It’s got me reeling.
I’m probably busy this week because I don’t charge enough. 😞
P.S. I met a young photographer the other day that charges by the hour. I didn't engage, maybe they are onto something, but I was thinking to myself: "What the hell are you doing?"
There’s a whole other topic I’ve been considering writing about.
I charge by the hour, or at least I work out my quote that way: included in that estimate are hours travelling, hours shooting and hours editing. I then use that to offer a (discounted) package price to the customer, or if they prefer, an hourly rate with the price to be calculated after the job. Most go for the package price.
So you work nine to five? That’s amazing. My shooting days are maybe 6-10 days a month.
No, probably fewer days than you. It’s just how I work out a price for those occasional paid jobs.