{"id":1610,"date":"2010-09-17T11:00:39","date_gmt":"2010-09-17T11:00:39","guid":{"rendered":"http:\/\/www.markwilson.co.uk\/blog\/?p=1610"},"modified":"2010-09-17T08:14:58","modified_gmt":"2010-09-17T08:14:58","slug":"whats-the-real-worth-of-a-photographic-image","status":"publish","type":"post","link":"https:\/\/www.markwilson.co.uk\/blog\/2010\/09\/whats-the-real-worth-of-a-photographic-image.htm","title":{"rendered":"What’s the real worth of a photographic image?"},"content":{"rendered":"

A few months back, I was listening to a podcast on my way home from work. There’s nothing unusual about that – but this one was episode 125 of This Week in Photography<\/a>, featuring an interview with Michael Corsentino<\/a>, who is a California-based lifestyle photographer.<\/p>\n

Listening to the interview, it was clear to me that Michael has made some hard business decisions about the way he packages his art (which is the way he refers to his photographic works) and the options he gives (or doesn’t give) his clients in order to ensure that he is able to cover the time and effort he puts into them. That’s fair enough when someone does do the best they can to turn images into art but now I’d like to put forward an alternative view.<\/p>\n

Photography is one of my great passions and I like to think that I’m someone who appreciates great photographic images but is not prepared to be taken for a ride. When my wife and I got married, our photographers did not charge us an extortionate fee for a “wedding package”. Instead we paid for the (fantastic) images, both formal and journalistic, on a time and materials basis. Our lead photographer, the late Brett Williams<\/a>, brought in one of his associates to assist on the day and I have all of the prints and most of the negatives for safe keeping.<\/p>\n

On the other end of the scale are two examples that I experienced through my eldest son’s school.<\/p>\n

The first was a school portrait, captured by H Tempest<\/a>. As proud parents, of course we paid for some prints but I also looked into the quality of the images that I could have bought digitally. I don’t know what cameras were used to capture the image, but when I called Tempest to see what quality the image they were selling for unlimited printing was, the answer I got suggested it was a a fairly low resolution (2304x1536px) JPEG image. As that image is unlikely to be suitable for quality reproduction at any larger than 8″x10″, it’s not what I call unlimited, so I decided not to spend the (I seem to recall quite large) sum of money that they were looking for, opting for a few small prints instead (I have my own “first day at school” images anyway).<\/p>\n

Then there was the case of Richard Kerber Photography<\/a>. Richard came into the school to create family portraits and we attended, as did many other families, one weekend last November. The images he created in our short session were great – and we did buy several prints; however I was still disappointed by the lack of flexibility and attention to detail. In common with many photographers, the packages offered were intended to encourage us to buy sets of photos but, in these days of digital SLR capture, I see no technical reasons (only some commercial ones) to restrict the ability to mix colour and monochrome images. There was also a hefty fee if we wanted to pay for the images on CD (with printing rights, but copyright retained by the photographer); and, apparently, no post-production effort at all.<\/p>\n

No post-production? Well, I know nothing of Mr Kerber’s workflow – I’m sure there was some<\/em> post-production – but, in one of the images, part of my foot is missing from the smaller prints, despite being visible in a larger version (albeit a little too close to the edge of the frame – given the amount of white space, some basic editing may have been in order to balance up the shot). <\/p>\n

It seems to me that what we have here is a photographer who clearly has the talent to create lovely images of my family (no mean feat with two “active” boys and two tired parents!) but who, for the lack of a little care and attention in his workflow, is not delivering the standard of work that warrants the pricing. Furthermore, whilst I can see that photographers need to set digital image pricing so as not to cannibalise their print sales, the prices charged for a CD with a license are extreme. \u00c2\u00a3295 is a lot of money for a few minutes in a school hall (remember, there are still print costs to consider)… oh yes, and he used a portrait of at least one family on his website without permission (as far as I can tell, no model release was signed, and whilst the copyright is his so there is no. Legal reason not to use the images, one might consider that he was morally and ethically bound to ask permission first).<\/p>\n

So, what’s the point of my rant? Well, I guess what I’m saying is that there’s money to be made by those who charge a fair price, without devaluing the overall effort involved (after all, it still has to be profitable – not everyone with an SLR is automatically capable of producing quality work). If you are a fine art photographer, then by all means charge a fee that reflects the value of the artwork but, if your approach is one of a production line, then your pricing should reflect that too – looking to make a fast buck from parents or newly-weds is just not on. If you want to charge me for something really special, then you need to put in the associated effort.<\/p>\n

[Incidentally, I originally wrote this post back in February but wasn’t sure whether to publish or not… after sitting on it for several months, I still think it makes some important points, so I’ve edited the original post and committed it to the web!]<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

A few months back, I was listening to a podcast on my way home from work. There’s nothing unusual about that – but this one was episode 125 of This Week in Photography, featuring an interview with Michael Corsentino, who is a California-based lifestyle photographer. 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