A simplified guide to pricing photography

Under iStockphoto licence, copyright Mike Ricca

Most photographers struggle with pricing and often adjust their prices in a futile attempt to find the sweet spot that might encourage their prospects and clients to buy.

Pricing is actually a lot easier than it seems, and many of us over-complicate the process by second-guessing ourselves or allowing our emotions to rule the numbers. It’s our lack of confidence in our prices that can be the real problem.

A simple pricing strategy

The most common formula for developing a price list is to multiply the cost of sales by a mark-up factor. In other words, what does the product cost to produce, and how much profit do we need to make from it? The lab print is not the only cost involved. Many photographers stumble trying to work out the value of the time it takes to create that print, from the first consultation to editing and touch-ups.

Consider an 8 x 10 print, with a lab charge of $5. For the sake of this exercise, I’m assuming a standard mark-up factor of 4 for all costs, which will make our cost of sales 25% of the sale price (an industry recommended amount). That gives us a price of $20, with $15 being profit, right? True, except those figures don’t include the time it took to produce.

If the client hires us for a session, but all they buy is an 8 x 10, are we just going to charge them $20? Hopefully not. Remember the time spent on the sales calls, processing the images, preparing them for viewing, the projection appointment, not to mention the actual portrait session.

Suppose these tasks take five hours. With a conservative hourly rate of $25, that produces a base cost of $125, which we should also mark up. Now our 8 x 10 has a “material” price of $20 and a “time” price of $500, for a total of $520.

Yes, I know what you’re thinking! No one is going to pay $520 for an 8 x 10, but the client shouldn’t be going through the whole process just for one 8 x 10 print. This is why we create packages, in which case we only charge once for our time. That time charge is then spread out over the cost of all the items in the package, making the prices more manageable.

Be confident

Working by the logic of numbers will give you more confidence in your prices and will help you become a better salesperson. Be proud of what you do. If your work is good, then you deserve to be properly compensated for what you sell and for the time you invest in it.

Nigel Merrick

Picture: Nigel Merrick Nigel Merrick is a full-time professional photographer and founder of the Zenologue Blog, dedicated to helping other photographers improve their businesses and to the preservation of the professional photography industry as a whole. Follow him on Facebook and Twitter.

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Kain is a co-founder, creative and marketing director at Fotomerchant. You've probably seen his template designs, blog posts and video content. His photography website lomovision.net is home to a collection of lomography, instagram and experimental photography.

  • I have just started doing kids portraits again after a long time off doing other things. The pricing had me worried so I appreciate the advice. I think the idea of packages is the way to go. I use to “sweeten” the deal by offering a free print as well. The customers love it!

  • thanks for the post

  • Charlotte_rose

    Thanks for the advice, I have recently worked out my pricing, I’ll share it as it may be helpful to others
    I charge per hour of photography($100p/hr) + editing time per hour ($35p/h). The client gets the pick of the photos from the shoot on a disk. I charge extra if they want me develop prints for them. i came up with these prices as that is what I would be happy to pay for a photographer at the level I’m currently at. It’s not like you get 40 hour a week full time photography!!! Plus we have our many pieces of expensive equipment and programs to cover before you can even get started.

    • Bkmollen

      What do you do if the client just whats a disk after the session?

    • Steve

      $100 and $35 per hr? Really. How do you survive? Subtract GST, PAYG, Insurance, equipment cost, studio rental, electricity, worker comp, super, incidentals such as stationary etc. . Unless you sell thousands worth of packages I can’t see how you would make a decent living. Especially if you are based in Sydney.

  • Yaw Mandy

    Thanks a lot for the article. I am in a market where is a little but saturated-more photographers chasing few clients.

    In this case, i is hard to go beyond the ‘prevailing’ price. What do you think?

  • Just discovered this article, going over some old emails. Thanks for this very simplified way of explaining how to cost for our time and work.

  • Angela Cockburn

    Hmm. As a buyer, I dislike and resent having to return for a projection session. It is not how I want to see photographs – in the dark, huge and untouchable. One photographer refused to make a projection session time to suit me – they expected me to travel through rush hour to an 8.30am viewing (roughly 3 hrs at that time of day.) I bought a beautiful series of shots elsewhere, and even they were incorrectly cropped first time around.

  • Dawn Saboff Hesh

    I am relatively new to the business part of photography. I have just started at a level where I am beginning to get quite a few clients. I am finding that the majority of the clients only want it. I am having a very hard time selling actual print. I would appreciate any advice and constructive criticism if anybody would like to see my page. Thank you in advance