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Posts Tagged ‘Pricing’

As a soon-to-be groom, here are a few questions I’ve asked myself while looking through some photographer websites…

How do I know whether I can afford you if you don’t give me an indication of how much you cost?

How do I know whether I can use you if you don’t tell me where you are?

How do I talk to you if you don’t give me your phone number or email address?

Couples looking for a photographer want to know whether you’re a possibility or not.

And if you are… we want to talk to you (not fill out an online contact form and wait for your reply).

Why frustrate us by hiding the precise information we need to decide whether to check you out?

How could you make it easy for us?

Just a thought, Nigel

 

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  • Sad as it is, it’s no secret that one or two of the traditional album manufacturers in the USA and UK have had serious problems, and not just because of “the economy”.

    It’s hard for everyone when a company struggles, hard for their staff, hard for their suppliers. Harder still when you know the people involved.

    Hard for their customers too, who’ve spent a lot of time getting to know their people, understanding their systems and foibles, making bookings with couples who will expect one of their albums…

    So why have they been in trouble?

    Because companies like Queensberry started eating their lunch.

    It’s easy to see, when the world changes, that previously successful companies find it very hard to change with it. It’s hard to let go of the old world because they were successful in it, because the market associates the new world with their new competition – and because their clients generally don’t want to change either.

    Unfortunately, when faced with needing to find a new supplier, many people look for someone offering a similar product at the same price. They could be hitching their business to another dying star…

    Sad for them, good for Queensberry clients.

    Cheers, Ian

    PS I first published this accidentally and I’ve edited it a bit since. Reading it back it still sounds a bit harsh, and it’s not meant to. I just wanted to make the point that this may not be the best of times to resist change. But many people do, and (indirectly) that’s good for our clients.

     

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  • Gerard read my posts on album marketing and asked if I recommend charging for coverage and albums separately or together. I personally think both options are viable; it’s what works for you that’s important…

    Here’s the fundamental QBY business* proposition, which you either agree with or you don’t: Queensberry albums add value.

    Display your work in them and you present your photography in a whole new context (you expect more money for it!)

    Which means you want your work in albums. You profit from the albums, and you profit from the perceived value they add. That’s why, at the time of sale, your goal is to hand the clients an awesome display sample and have them say, “Wow, how much is that?” Or words to that effect.

    So, if I’m pricing the album separately, I need to bear in mind that what clients really want to know is how much they’re spending, all-up. Obviously you shouldn’t hide that from them, but you don’t want to overstate it either. I’d certainly stress the difference between their minimum commitment (however you define that) and what they just said “Wow” to.

    If I’m pricing my coverage and the album together I’d take care not to commit the clients to a specific album (a 20-side 12×12 or whatever) because that will limit their thinking (discourage them from upgrading). That’s why a lot of studios frame the album component as a “deposit” or “credit”. I would certainly make it clear that they don’t need to make a final decision until after the wedding.

    One other thing.

    If you’re starting out , chances are you won’t be able to command the prices you eventually want to – but you absolutely must get your business headed in the right direction. An all-in price may accomplish that better because it ensures your work will be presented beautifully, and get you on that upmarket path. You’ll look great value compared with other people offering equivalent presentation – and you’ll be perceived as competing with THEM rather than with the bottom end of the market.

    To be clear, you’d expect me to say that, and it may amount to suggesting you offer albums rather cheaper than you might want to. It may not make you popular with your competitors either. But I think it’s good advice, and no-one said that getting started was easy.

    Cheers, Ian

    * Albums are not just about business of course, any more than you’re in photography just for the money. The nice thing about our industry is that most of us love what we do.

     

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  • In my posts a couple of months back about album marketing I suggested that you need an entry-level price that doesn’t scare people. That prompted Darlene to tell a good story…

    “If a bride has a Mercedes budget and your prices start at Ford, she won’t even come look at you. I’ve seen that in action with some of my clients.

    “One guy from a rust-belt town was charging $1500-3000. He told me, ‘I can’t sell your albums – they’re too expensive and I can’t get $5000 for a wedding round here’.

    “I told him he’d be surprised to learn, then, that one of his competitors (20 minutes away) was using Queensberry albums, his packages went from $4000 to $10,000 and a good half of his weddings were in this guy’s town.

    “The brides with money didn’t consider him because he was too cheap. So he assumed there just wasn’t any with money there.”

    Cheers, Ian

    PS Darlene added, “I personally discount many people’s initial budget because they just don’t know what photography costs.”

    True, but … whatever their misconceptions (too high or too low) or how you price yourself (too high or too low), if you get it wrong they may never call you. You need to constantly evaluate your prices and packages to ensure they’re delivering the results you want.

     

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  • In our studio one of the things we say is that we don’t do cheap.

    Our albums are valuable.

    We talk about using the best.

    We talk about how only the best is good enough.

    Just as in a restaurant that only uses the highest quality raw materials, if the food is amazing but the delivery/service is poor the food will quickly be forgotten. If you excel at both you have something amazing  to offer.

    So why is it important to be amazing?

    At a time when, for many, the cost of doing something is being measured, and value is increasingly important, the value of doing our best cannot be forgotten, especially for the things that we want to last.

    Because ‘the test of time’ is not just measured over times of adversity, like now, we must ensure that the thing by which they remember their wedding, and all that it means, will also pass that test in times of prosperity.

    For us, therefore, it’s not about looking for a cheaper option, it’s about using our current ones more effectively, and optimising value.

    We have people possibly cutting down the size of their album but NEVER asking for a cheaper model.

    Don’t be cheap, be valuable.

    Best wishes, Johannes

     

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  • picture-4

    The New Year is a great time to stop, take a look around, absorb what you’ve achieved, and focus on what the year ahead offers.

    I’ve just done the absorb bit. Gone back and had a look at what we’ve posted over the past year. I found some really great stuff I’d forgotten about! No doubt you’ve forgotten or missed some of these posts too so over the next few days we’ll bring you our favourite posts of 2008. 

    There’s not much of a criteria – just posts that really stood out to us. I hope they do to you too.

    We’ll start by engaging your senses. Today we’ve picked a couple of really interesting interviews, and two gorgeous albums we featured last year. Enjoy.

    • Red and white all over - Matt and Enna of Grazier Photography reflected the details of this wedding in a stunning red and white album.
    • Wedding venues, valued partners - Relationships with local wedding venues are a great way to build a strong wedding and portrait business. This beautiful album by Simon Whitten rests on the piano in the drawing room of  the luxury castle hotel Swinton Park in Yorkshire.

    Tomorrow we’ll have the top tips, how-to’s and marketing posts of 2008.

    See you then

    Nigel

     

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  • These articles are about strategies to combat the recession. I ended my last post by posing the question on everyone’s lips: what happens if my bookings drop?

    You’ll need to have read my previous post to make sense of what follows, but to recap, based on the numbers in the graphic below, if I get 30 wedding bookings and average $5000 per job my income is $71k. If I could get 40 bookings I’d make $114k, even if my average dropped to $4600.

    All good, but what happens if I can only get 20 bookings?

    masc-3

    The answer is my income drops to $28k! I could still achieve my $100k income goal with just 20 weddings but only by charging almost 75% more than what I personally believe other people of my standing are – almost $8600 per job.

    If those really were your figures, how would you feel?

    Well, if they were mine I’d start to sweat, my stomach would feel queasy and my first thought would be, I’ve gotta cut my costs!

    I’m going to suggest some positive strategies in future posts, but first I need to focus on what won’t work. (Heather reminds me to add, “in my opinion…”)

    I know that you know I’m biased, but hear me out…

    Most people’s knee-jerk reaction will be to cut their job costs – their album and printing costs.

    So, what if I cut my album and printing costs in half? Well that would be great if I could still get thirty jobs and still command the same price. I don’t need a recession for that to make sense. My income would obviously go up.

    But it doesn’t seem likely that giving my clients something less impressive is going to make it easier to book 30 jobs at the same price. After all, I’ve just abandoned perhaps the most important evidence that I’m a standout high-end studio…

    When I key in the variables this is what I find…

    If I hold my prices with the cheaper albums but still only book 20 jobs I’ll be slightly better off than if I’d spent more money on albums (obviously) but I’d still still have only $35k to feed the family and pay the bills.

    If I drop my prices by a quarter in order to book 30 jobs I’ll do slightly better – $43k. A lot less than my pre-recession $71k, but my best option so far.

    But if I drop my prices by a quarter and still book only 20 jobs I’ll be lucky to clear $10k!

      What’s to be learnt from this?

      When you start to play with your prices and with what you offer your customers, the outcomes are a lottery. Maybe you’ll be better off in the short term, maybe it’ll be disastrous. But two things are absolutely certain:

      You’ve just taken your business down-market to survive. (Do you think “down-market” will be less crowded in a recession?)

      You will still be down-market when the recession ends. (The down-market clients you’ve booked will be recommending you to their down-market friends.)

        A wise friend of mine says, if you want to stay in business you should avoid decisions that have the potential to kill you. You’re master of your own destiny, but in my opinion there are other ways to deal with the recession. With the negative stuff out of the way, we’ll deal with some of those next.

        Comments welcome!

        Cheers, Ian

        PS These numbers come from my spreadsheet. If you’d like a copy so you can analyse your own business, please email me. It’ll take a 2-3 days for me to respond, sorry.

         

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      • tomfishburne_080728silo

        I always enjoy Tom Fishburne’s Brand Camp, and his latest cartoon makes a timely point. We’ve just finished Queensberry “Sales Week”, where we we bring together our Account Managers and Support People from round the world to talk with the Design and IT teams, the Bindery, the Lab and Order Processing – and to each other of course. Like many of our clients, some of our people work alone most of the time and they enjoy the chance to mix it up. If that’s the right expression – actually I admire the way everyone works so well together!

        But it’s hard work for them. I was with them for a day, and they must have found it pretty grueling reviewing current trends and next season’s documentation and prices. They were still talking to me at their last-night get-together though. Here they are…

        sales-team-20081
        The team and their territories: Gino and Darlene (North America), Michelle (NZ), Sonya (team leader), Raktim (Australia), Jo and Kirsten (UK).

        Did I mention prices? Well don’t tell anyone but we decided not to put our prices up this year. There’s some fine print around that, but not much, mainly associated with streamlining our systems – more about that later. It was one decision nobody had a problem signing up to. Except Andrew, our marathon running, wheat-grass growing accountant (that’s him below with the glasses and the hand up his back – he came round eventually).

        Cheers, Ian

        qbystaff41

         

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        If you’re not vegetarian, chances are you like sausages. Personally I’d like these ones barbequed a bit longer and served with onions, mustard and sauerkraut. But we don’t sell them at Queensberry, and here’s why…

        There are other words to describe sausages – cheap or everyday for example, and we believe photographers should avoid the whiff of “cheap” more than almost anything else.

        If you want a long career in wedding photography everything about you needs to say, “I’m worth what I charge.” Photographers can almost never compete on price. Wherever you are, the chances are good that someone out there shoots weddings for a tenth of what you charge.

        It can take years to stake your claim in the market and you could lose it in months.

        Your choice of album is one (important) way to stand out from the crowd. Choosing an album because it’s cheap or everyone’s using it is dangerous to your health. Tempting yes, but dangerous.

        So our albums aren’t made in a sausage factory. No matter how you dress them up with herbs and spices, sausages are sausages. Differentiation is our reason for being. Our business isn’t selling albums, it’s helping you sell photography for the prices you deserve.

        And here’s the cool thing.

        Most photographers don’t get what I just said. Which is great. It means that our clients are different (differentiated) and so are we.

        That’s why we sell steak, not sausages. Top quality; fillet or rib-eye; corn-fed or range-reared; medium, rare or well done; in a pepper sauce or simply salted. Oh, and lamb and salmon and definitely – definitely – a spectacular range of vegetarian options.

        Cheers, Ian

         

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