Hey there, visual storytellers and curious minds! Today, we're zooming in on a topic that's often shrouded in mystery and speculation: How much do on-set and stills photographers really make?

Whether you're a budding photographer dreaming of capturing the magic of movie sets or a seasoned pro considering a shift to the glamorous world of film and TV, understanding the financial landscape is crucial. So, let's dive into the blood of on-set and stills photography earnings, shedding light on what you can expect and how to navigate your way to financial success in this dynamic field.

The Snapshot of Earnings

First things first: talking money can be as complex as catching the perfect light at golden hour. Earnings in the on-set and stills photography world can vary widely based on a multitude of factors including experience, location, the budget of the projects you're working on, and your ability to negotiate contracts.

Starting Out

If you're just dipping your toes into the waters of on-set photography, you might find the financial pool a bit chilly at first, especially on short films, theatre productions etc as you build your portfolio. Don’t overlook doing some of those projects for £100.00 they can show that you know what you’re doing!

Newcomers to the industry often start on smaller projects or indie films, where budgets are tighter. In these settings, daily rates can range widely, but many photographers find themselves earning anywhere from £300 to £500 per day. It's a starting point that reflects the initial hustle required to break into the industry.

At my first job, I had ZERO idea what to offer, it was last minute, a job I didn’t even know existed but the producer was fair with me and I got £350 per day, this was a minimum rate but I was over the moon and grateful. He got a deal, my photo ended up being the poster shot!

Before I knew how the world of film and TV worked, I assumed I’d be on set everyday, this is utterly incorrect, it’s rare to be there everyday. Most feature films take 6-10 weeks of filming and you’ll on average be there for 6-8 days for the whole project.

It’s why our rate might seem high to outsiders but we can’t guarantee to work on multiple projects at a time.

So, maths, let’s say you are on an 8 week film, 2 months. 6 days of work at £650.00pd. For those two months it’ll work out at just under £2k per month which is an alright wage, don’t forget the 11 hour days, physical toll, travelling, change in schedules, last minute arrangements, the cost of your equipment… it adds up right?

The Seasoned Professional

As you gain experience, build your portfolio, and make those all-important connections, your earning potential starts to climb. Photographers who've made a name for themselves in the industry, working on bigger productions or with well-known clients, can see their daily rates soar to £550-£1,000 or more (I’ve heard rumours and not experienced £1000pd per se, in the UK it’s unlikely to reach that figure but in the states it’s different). It's a testament to the value of experience and the importance of networking in the film and TV world.

The average at the moment (2023) is between £550 - £850 per day, this doesn’t include ‘box rate’ which can vary on your gear.

To do a ‘gallery shoot’ (ie shooting actors on a grey backdrop so they can be cut out later for anything) is roughly £1300-1500 not including the buyout or an uplift if they get used for the poster.

Uplifts

As a group, we as unit stills photographers are trying very hard to stick to an uplift if our stills get used in the poster shot. It is not common in the UK but it should be.

The Top Tier

Then, there is the crème de la crème of on-set and stills photographers—those who regularly work on high-budget films and prestigious TV productions doing the marketing shoot, this is where the money is. These seasoned pros can command rates upwards of £10,000 for the shoot including the buyout, with some even securing higher figures based on their reputation and the demand for their unique eye. It's a level of success that many aspire to, showcasing the potential for a lucrative career in this field.

I’ve personally never had that amount offered for marketing, but hopefully one day!

BECTU

BECTU is the UK union for film crews. They have a suggested rate card which we should be sticking too, unit stills has photographers included but alas, there is a mismatch of information between what productions offer and what BECTU suggests.

Having the support of other photographers is vital so there’s no undercutting which quickly becomes a race to the bottom.

We all strive to increase our rates collectively as the cost of living increases.

Factors That Influence Earnings

Project Budget

The budget of the project you're working on is a huge determinant of your pay. Larger productions with more generous budgets can pay higher rates, while independent or low-budget films might offer lower compensation.

Location, Location, Location

Where you work can also play a significant role in your earnings. Photographers in major film and TV production hubs like Los Angeles, New York, or London often have access to more opportunities and potentially higher rates than those in smaller markets.

Your Portfolio and Reputation

The stronger your portfolio and the more recognised your name, the more you can potentially charge. A portfolio that showcases a wide range of skills and high-quality work can be your ticket to higher-paying gigs.

Navigating Your Financial Path

Breaking into on-set and stills photography and reaching those higher earning brackets requires not just talent, but also business savvy and perseverance. Networking, continuously honing your craft, and understanding the art of negotiation are key.

Remember, every gig is an opportunity to expand your portfolio, connect with others in the industry, and negotiate better rates for future projects. It's also worth considering diversification—taking on different types of photography work can help stabilize your income as you build your reputation in the film and TV sector.

Final Frame

The journey of an on-set and stills photographer is as varied as the projects they shoot. While the path to financial success in this field can have its ups and downs, it's undoubtedly a career that offers immense satisfaction and the potential for impressive earnings to those willing to put in the work. So, keep chasing those perfect shots, building your network, and pushing the boundaries of your creativity. The world of film and TV photography is waiting for you to make your mark—and yes, it can be as rewarding financially as it is creatively. Here's to capturing magic, one frame at a time!