Best Business Practices for Photographers [138]
I also ask for the bride's address, the groom's address, and their address following the wedding. Further, the contract includes the place where they want me to report to, as well as where the ceremony and reception sites are. I then detail their package—whether it's a time-limited event; approximately how many images they can expect; whether albums, reprints, or engagement portraits are included; whether a second photographer will be used; and so on.
The last detail that I ask is that both the bride and groom sign the contract. Until they are married, one cannot legally engage the other into a contract or obligation. Having them both sign precludes problems down the line and makes for a cleaner contract. Further, since they are also signing to allow you to use images of them for your marketing/advertising, having both sign ensures that you can fully use the images for your marketing materials.
There are many forms available through professional organizations that you can use. I know of several photographers who outline on a two-page letter, with places for signatures at the bottom, the dates, the times, and the package elements.
Negotiation with the Bride, Groom, and (Often) Paying Parents
The negotiations with the decision maker in terms of who the photographer will be are significantly different than when such negotiations are engaged with a publication or organization. In the latter instance, you are dealing with someone with line items and budgets, and it's somewhat impersonal. In contrast, the dialogue with the "media buyer" for a rite of passage is 100-percent personal. Of course you have to be capable, but I can't imagine anyone reading this book who isn't. You must connect with the prospective clients, and they must like you, get along with you, and think you're an easygoing person. Prima donnas are just not going to get the assignment.
The dialogue and where it occurs—the interview/meeting—is all about these issues. This is a job interview, only it's for one day's work. Dress for success. If your meeting is in the exclusive community in your area, you must not turn up in jeans or business casual. A business suit is appropriate, especially if the meeting is with the bride's parents or the parents for a rite of passage for a child. If, however, you are meeting with a couple in their apartment, then business casual is most appropriate. I can't imagine any circumstances in which jeans and a polo shirt would be appropriate for a meeting.
Prior to the meeting, there should be no surprises. The clients should know your pricing structure. Nothing is worse than putting the couple in the predicament that after they listen to you tell them all about what you can do for them, you start quoting $3,500 packages when they are dealing with a maximum budget of $1,500 or $2,000. There's no way you can move them to $3,500, like you might be able to if their ceiling was $3,000. That is an insurmountable gap. Further, you'll want to make sure that they know what your style is (mostly posed/setups versus photojournalism/reportage style). The "media buyer" should have prequalified you down to a small group of providers who are available, capable of meeting the style and client needs, and within the client's budget. If any of those factors is not met, you're out of the running. Avoid wasting your time and theirs.
Many photographers have packages for rite-of-passage photography, and often there may be a gap when the client considers all of the items you're offering and what he or she can afford. I recommend you consider what the rock-bottom