Why, then, do so many areas make do with less than adequate photography?
Good Photography is Expensive
A member of the Association of Magazine Photographers, according to published guidelines (1979), is advised to charge $1,000-2,500+ for a photograph used in a national ad campaign in consumer magazines, newspapers or billboards. That person may ask you to pay (on a day rate basis) $1,250+ for annual report photography, $1,000+ for brochure photography and $1,000+ for a slide show.
Publicity photography is a bit cheaper: the assignment rate for general newspaper press kit photos ranges from $600-750+, a short-lead news photo assignment will run $200+ and senior executive portraits cost $1,000-1,500 per sitting.
That’s not all: the add-ons (billable expenses) include all film and processing, all location and transportation expenses (including meals and studio rentals), props, assistants, rented equipment, insurance, overtime, messengers, postage, trucking, tolls, telephone and talent (models).
At this point, you may have just decided that the person who is doing your photography in return for the use of the ski area’s darkroom and a season ski pass won’t be allowed to read this article. On the other hand, that person probably isn’t producing photos that match the mood and quality—and success—of the Marlboro cigarette ads, or a number of other ad campaigns that come to mind. Look through any major consumer publication—at the advertising and editorial photo spreads—and decide if that photography is as good as the photos you’re using in your brochures.
You get what you pay for.
Start-Up Essentials
It’s worth it to have at least one photographer on staff. Salary, plus on-site darkroom use, photo credit by name as well as ski area, and the opportunity to sell photos on the side would be an appropriate consideration. Hiring an apprentice to assist the staff photographer in the darkroom for the price of a season pass could also be a good investment.
The darkroom: It takes some plumbing in a light-tight area. The equipment is initially expensive, but then I refer you to the per-picture or per-diem rates above. You’ll get your investment back.
The back-up: Negotiate with the professionals in town. If they’re selling ski photography, they may settle for access to your slope (a season pass) and, occasionally snow cat assistance or out-of-area privileges. The payback: location credits when possible, and, a reduced rate on any photography purchased from them for use in your collateral materials.
The subjects: What’s the story you’re trying to tell about your area? What makes it unique? That’s what you want the pictures to prove. There are some standard ski photo subjects:
- Powder snow—our sport at its most aesthetic. However, I’ve yawned when I’ve seen portfolios of photos that include only macho young males skiing on hot gear between closely spaced trees. How many of our customers does that epitomize?
- Age groups—the population is aging. If we’re to continue to sell our sport, we should indicate that people of all ages—and sexes—enjoy powder skiing, racing, packed skiing, ski school, apres-ski fun, etc.
- Packed slopes and wide-open spaces—that’s where the bulk of our customers ski.
- Ski school—it can be fun for everyone. And, classes serve all ski ability levels.
- Lodging—I’m as concerned as the next person about whether the beds are big, the fireplaces are working and the showers aren’t down the hall.
- Night life—show all the varieties, except the ski patrol parties. Don’t forget the folks that like to sit in the lounge and talk to each other.
- Faces—skiing is fun. Happy faces prove the point.
- Services—transportation, meeting rooms for groups, hostesses, ski patrol, trail grooming, snowmaking, etc. They all tell the customer that the odds for a good vacation experience are in his or her favor.
Inherent Problems
The weather: Invariably, the day you arranged for the models, the snowcats, the photographer and the props, will be the day it snows or, worse, is merely gray. That’s the day you were going to shoot your spring skiing spread.
Allow time/flexibility. Have people on call for that day when the skies are blue, the powder is six inches deep, everyone has the perfect suntan and can find the clothing they’re supposed to wear.
Quality: I don’t care what the story is, if the photo is out of focus, muddy, the subject is lost in the background or the photo just doesn’t “work”—don’t use it. Your choice of photos tells something about the way you view your product. The customer will recognize this.
Legalities: Get signed releases on all recognizable subjects. Get parents to sign for minors. A hassle? Yes. A worse hassle—the photograph you use in your brochure that shows a married person with her or his secretary on your chairlift when they were supposed to be in Duluth. It’s better to establish a stable of models who are on call and whose releases are on file and updated every year or so. Establish a per diem or per job fee with the models and either pay it, or bill it out to a client. Make sure the models have flexible schedules (i.e., they work nights) so you can head for the fresh powder on the “milk run” on that rare perfect day. Have your stable include a range of age groups.
File Photos
Unless you’ve got an active news bureau with good connections with the wire photo services or you periodically send photos down to your local metro daily newspapers, most of your photos will be sent out with press kits or on a request basis. Some photos, if they’re good, can be used year after year. Except for those photos which carry a date in the caption for useage the same day or in a few days, all photos should be identified as “file photos.” That indicates to the user that, while the photograph may accurately reflect how things are today in your resort, it was taken some time ago.
Relative to this: a lawyer I know who defends a major newspaper against libel suits recommends that you get up-dated releases from models every few years, if possible. The overweight blonde in that picnic photo you’re using for the fourth year in a row may have become a skinny redhead and now resents the use of that old photograph, even though he or she signed a release at the time.
Souvenirs: I’ve seen people pay outrageous prices for that snapshot or poster of themselves and their family-friends on top of Wonderful Mountain. Concession rights can be negotiated on this service. Include rights to photos for your own use, if appropriate.
Accidents: They do happen and, if you have photos of the accident scene, signed and dated by the photographer, it could help you in court. In fact, one successful defense of a lawsuit based on a photo could cover all the dollars invested in your entire photo operation.
