Archive for fine art

How to Determine a Price for Your Fine Art Photography

A few weeks ago I received an email from John, one of our community members. John enjoys sports photography and asked how much should he charge for prints of his images?

I’m trying to start selling some of my hockey pictures and I was trying to figure out if anyone or anything tracks the average price people are charging for a sports related 4×6, 5×7, 8×10, etc. My intention is not to undercut someone else but I definitely want to be competitive. So far I have found a couple of different sites and they vary widely in price. For example, I found the following prices for 8×10; $6, $19, $7 and $22.

Below is my response to John and I thought I would share it with the rest of our community. While some of my suggestions and comments are specific to John’s sports photography, they can be applied to any type of fine art photography.

There really aren’t publicized databases of what people are selling photos for. In fact most of what you’ll find online is either opinion, best guess or an average taken from several sources. The best way to determine pricing for your prints is to figure out your costs and determine what the market can bear.

Here are a few thoughts that will help to determine the cost of your time and materials needed to create your prints:

1. You already did some research and found varying prices for similar photos to what you’re creating. These numbers are good to know because they are your competition and if a consumer is looking for hockey photos most likely they’ll do similar research and stumble across the same sites.

2. Now you need to determine the “cost” of creating your prints. How much time do you put into the creation of your images?

+ Prep Time
+ Game Time
+ Post Game Time
+ Travel Time
+ Processing/Retouching Time
+ Printing Time
+ Matting/Framing Time
____________________________________
= Total Time spent to create your final product

Figure out a realistic hourly rate that you think your time is worth for each one of these tasks. Now break this number down into a per print cost. Keep in mind, you may shoot a couple hundred images while you’re at a game but most likely only a handful will actually be good enough to sell. For example, if out of 200 images you only have 10 that are good enough to sell, then take your total time and divide by 10 and that is your cost of time per salable image.

3. Since you’re just starting out selling your images it’s going to be hard to determine, but you need to figure in how much time you’ll spend marketing and promoting your photos and also the time involved with fulfilling the orders (processing credit card transactions, creating mailing labels, packaging the products, dropping packages at the post office/UPS/FedEx, etc.). Again figure out a realistic hourly rate for each one of these tasks, then you’ll want to break that down into a per print cost.

Note: You as the “artist” can command a higher hourly rate. So the time it takes you to create the final print should be figured out at that higher rate. Other than the marketing and promotion time, the fulfillment time should be figured out at a lower hourly rate. The reason being is, you are the only “artist” and theoretically the only one who is able to create your “art”. The time spent fulfilling the orders can be done by someone else for a much lower hourly rate. If you get so busy that you have to hire someone to fulfill your orders, you would be calculating their time at that lower rate. In the beginning you most likely will be doing everything yourself so you should plan on less per hour for those tasks. The flip side to this is, while you’re processing credit cards and packing up your prints, it’s time taken away from creating new images that you can sell. But in the end this is just the cost of starting and running a business.

4. You also need to figure out how much your total out of pocket expenses are for your printer inks, paper, frames, mattes, packaging materials, etc., and then break that down into a per print cost. This number will vary based on the size of the prints you’re creating. If you’re using an outside lab to create your prints, then it’s just a matter of adding in those costs.

This will get you down to the cost of your time and materials to create your product. This is the minimum amount you have to charge to be compensated for the creation of your product. If you can’t sell you prints for this minimum price then STOP here! Unless you want to share your images with the world for fun and the love of it, don’t bother moving forward as it will be a losing financial proposition.

So you’ve figured out a cost for your time and materials and found based on the market research you did, you’ll be able to sell your prints for enough to at least cover those costs. Now you need to figure out the “value” of your product to determine if you can make a profit. Consumers in general don’t have a real understanding of the value of art. Sure they know the paintings hanging on the wall in the museums are priceless but that’s because the artists are dead, right? The consumers “perceived value” of art is what we need to address. What do they think the photo is worth and how much are they willing to pay for it?

Portrait and event photographers are creating images unique to the customer. These images can’t be obtained elsewhere short of hiring another photographer. The customer has a perception of value that these photographic services hold. While photographers wish this perceived value was higher most of the time they are able to justify the costs to them. When you’re selling fine art photography it’s much harder to justify the cost of the prints to the customer. They either get it and are happy to pay or they don’t and won’t pay. Many look at fine art photography as a commodity that’s easily obtained. There are tens of thousands of photographers selling fine art prints online many of which share similar styles and looks. Because of this, selling your prints turns into more of a price battle than a true appreciation of art.

Here are a few questions and thoughts that will help you determine the “value” of your prints.

1. Are your hockey photos of professionals (I’m going to assume they are)? If so, how widely available are similar images? If you are shooting amateur players or youth leagues that’s a whole different story.

2. Are your photos posed portraits or action shots that you took at games? Did the players pose exclusively for you or did you shoot them from behind the boards? Why I’m asking is, if the players posed exclusively for you there is a little more value to the images because they are more unique. If they are action shots from behind the boards that anyone else could have made (and probably did) they are going to be more common and probably not as valuable.

3. Why would a customer buy your print over someone else’s? What makes your image unique and different? Developing a style or look is very important and will make more common shots look extraordinary. They will take on a higher perceived value of art and not that of just a snapshot.

4. Is the market flooded with images of this type? Sports images in general are very popular and available everywhere. You can find images online for free, you can go to your local sports store and find images sometimes signed, they’re in magazines… everywhere.

From the questions above if you determine your images are common to what’s out there then you really will only be able to charge what everyone else is. Prices may vary but even at the highest price of $22 for an 8×10, that’s not a lot of money for “art”. If you goal is to mass produce these prints and try to sell volume then the lower price is fine but you’re not really selling art at that point, you’re selling a widget.

If you want to sell “art” and take it to the next level you need to be different and offer something that no one else is.

1. Maybe you can make a few connections with some players and get them to sign some of your prints. You could sell them as numbered, limited editions that are matted and framed.

2. Develop more of an artsy style. Maybe it’s camera angle, maybe it’s the way you process the images. Make it unique and make it yours.

3. Focus on just one team to photograph and go after the diehard fans. True believers are willing to pay for great wall art to hang in their Man Caves.

4. Connect with charities and offer your art to be auctioned off in a fundraiser. The charity will take them on consignment and if they sell, will pay you the agreed upon price and keep the rest of the money for their cause. It’s a great way to help out a worthy cause and get your name out there at the same time. By the way, sports images sell great at charity golf outings.

These are just a few ideas on how to set yourself apart from the rest. There are many, many more ways, you just have to be creative in your approach.

So how much do you charge for “art” ? At very least you want to price the art at a 100% markup or double what your cost of time and material was to create it. If it costs you $50 to create an 8×10 matted and framed piece, you should easily be able to sell it for $100. The larger the piece the higher the percentage you can mark it up. A 16×20 matted and framed print that cost you $75 to create could easily be sold for $200 or more because the perceived value is higher. A larger piece takes up more wall space. Now if you really want to go big, look into the Gallery Wraps. A 30×20 might cost you $150 to create but you could easily sell it for $300+. The bigger and more unique your images are, the more they will be perceived as art and have a higher value to the average consumer.

View our Grow Your Business section for even more great
tips and ideas to help you succeed in business.

Starting a Photography Business: Part 39 – Alter Ego

I read an article in the British Journal of Photography that fired my imagination and helped me to work out how to unite the two different forms of photography I like to do. The article was about an exhibition being held that features work by photographers who use a pseudonym. By working under a different name it allows them to sell work that doesn’t quite fit in with their main band of work; it frees them to work without restriction or be judged by other people’s pre assumptions about their normal work.

Gosh this was a freeing article to read; I quite often do photography that doesn’t really fit in with straight landscape photography and although my Signature collection allows me some leeway, there are times when I know and feel in my heart that some images I’ve taken just don’t sit well alongside my other work, and so I leave them stored on my SD card waiting until I find that right place for them.

I’m sure we’ve all taken images where we are veering slightly away from our original brief of what our customers expect of us; by creating an alter ego it allows us that freedom.

I love taking things within a landscape; close up of flowers, shapes of trees, animals and quite often things I would describe as arty; the type of images that you might see in an exhibition though probably not on someone’s wall in their sitting room. The article has given me a new lease of life, and I’m seriously considering how to move forward with this. Read More→

Starting a Photography Business: Part 37 – The Insider

Last week I went to listen to a well-known English landscape photographer, Charlie Waite, give a talk. I wasn’t quite sure what to expect; it was in a theatre and so although I knew he’d be showing his work I wasn’t sure how technical the material might be.

He started with a little philosophy, a really interesting snippet about Ansel Adams; did you know that he only expected to take 12 great images a year in the camera? I get so used to seeing his work condensed into books that I tend to forget that he must have had his off days too!

I love listening to other photographers in my field talk; I like hearing about their successes and their frustrations, in fact, I’m always charmed when they humbly confess that they’ve had those days where they’ve struggled to make anything work, weeks spent abroad praying to find that one moment that makes their time away worthwhile.

As we looked through his photos, me making notes from time to time in my beautiful new notebook, I came to realise how similar we all are in the way we connect with the environment, and how special that connection with the universe is for us even though we all work slightly differently.

Someone asked me the other day what is it that you feel when you are taking the photo and the emotion afterwards? I wish I could say I gave a polished answer, but I fumbled around with words trying to explain what it is that it does for me; unfortunately for them, I fell short of what they expected me to say, as they tried to put it into their own words. “It makes you feel like this….?” Well no not really it doesn’t.

It’s a tough gig to explain to one person let alone a theatre full of people what images mean to you, and I couldn’t help but notice that when we got to the really personal photos; images where Charlie had clearly felt an intense connection in the moment between him and the universe that took his breath away, he too was fumbling around for the words to convey the importance. Read More→

Photography Without Labels

When Trevor asked me to contribute Cityscape and Landscape articles to the site last year I was honored. 2010 was a great learning year for me and in 2011, I’ve been able to reflect on all of my hard work for the past 365 days.  Honoring the gems and realizing my mistakes, It’s allowed me to focus on this new year with a new mind frame.  One thing I decided to remove is the word “scape” from my categories of work. I prefer to use the terms “City” & “Land”.  For me this broadens the subject matter for which I can write about, because recently I’ve been shooting a lot of different subject matter when it comes to city and land photography.  When I think of the word “scape”, I think of skyline shots, and sunsets over the ocean, but in fact city and land photography is so much more than that. In my recent adventures I’ve found ways to produce city and land images together, like the examples below.


Read More→

Starting a Photography Business: Part 11 – What are Keywords?

Google made the news today about how it lists searches and it helped me decide to write this article now. Worth bearing in mind is that although Google has more users than other search engines we shouldn’t neglect the other search engines and their criteria, 20% of all users are working with Google’s competition.

One of the best ways to get the search engines to work for us is to have a site that is keyword ready. Keywords are easiest described as a word that a customer will type into a search engine to find a product. And luckily Google offers a free Keyword Tool which allows you to type in a list of your keywords individually so you can see how many times in the last month people have used the word in a search.  You might be surprised by what it throws up and which words you consider to be a keyword to your product that just doesn’t feature on the radar of a consumer.

Taking one of my photos for an example, I have a photo of Italy in my collection; it’s of the Faraglioni rocks off the island of Capri on the Amalfi Coast, which are two limestone rocks that rise up out of the sea. Because I know the name of the rocks it was going to be one of the keywords for not only the photo name but the write up in the homepage and the page section however the google tool showed me that no one has searched for them by name then or now as I’ve just had another look as I’m writing this piece. So I no longer have it featured as a keyword, however Capri, Sorrento and Amalfi Coast have millions of searches so I now know what to concentrate on. Read More→

City & Land : Black & White

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Black & white photography, is a fairly new medium for me.  I knew I wanted to incorporate it into my workflow, but I didn’t know how.  I think shooting B&W has it’s place, and lately I have found some interesting ways to work with it. One of the tools I think is a must have for any photographer, is the ND filter. I swear by the B+W brand, and am addicted to the ND 10 stop filter.  During the day it’s an amazing tool, and 75% or more of the time I will convert these images to B&W.  If there are heavy clouds and moving elements, it will give you an incredible effect.

You can view my article on CurrentPhotographer.com called “Black Glass 101” to better understand this filter. Read More→