Question: It's so hard to know what to charge when you’re starting out. How do I know if I'm being taken advantage of? Are there fees that I should always include, or not include?

For those aspiring photographers trying to break into the magazine world, don't be shy with questions about the job. Have a list of questions ready when you speak on the phone - it's best to arrange a call and get past the email chain.

The magazines that I have worked for as a photo editor had a day rate already set. Typically, there are expenses allowed on top of the day rate. When I have contacted photographers, I have always included a brief summary about the job and the rate for the job. This is typically done via email to check availability.

Questions: When should I triple bid? / What percentage of an estimate is approved for cash advances?

For all the wonderful art and noble intentions, this is a business – and whether you’re a photographer with two decades of professional experience or an illustrator learning how to sharpen your pencil, you’re looking to get paid. When it comes to cashing in, there are tried-and-true techniques to employ and common errors to avoid … for instance, art buyers allow for wiggle room regarding equipment and expenses, but if you continuously mark up your costs, they’ll notice.

Question: Clients always ask for an estimate, and I tend to low-ball – any good strategies for coming up with a proper estimate?

Creating an accurate estimate is the best thing you can do for the client, your own illustration business and the industry. Even though no two estimates are the same, most can still follow a general outline for what should be included. Here is a list of questions to ask your potential client to help create an accurate estimate that fulfills both their expectations and your needs.

Question: Does the opportunity to negotiate still exist? Clients like to hear a number and if you’re not there (at a low or reasonable cost) you lose out without a negotiation. If so, what are some of the rules of negotiating?

As an art producer the past 15 years – and more recently a photographer’s agent and producer – I can shed a little light on this topic.

In a nutshell, yes, the opportunity to negotiate still exists. But it depends on a few variables – budget, timing, the client’s priorities, your relationship with the negotiator and, mostly, how badly they want YOU on the job.

Question: After the initial creative call, what can I do to stand-out from my competitors? I’ve heard of artists providing an estimate and a treatment. How would I go about creating a creative treatment, one that shows the my creative vision while fitting in with the art producer’s vision?

After a creative call, every photographer or illustrator sits, waits and imagines every scenario. I can’t tell you how many times a week I hear from a client who just finished a bid or a creative call and asks me: “When should I call back?” “It’s been a week, what should I do?” “Should I send a follow-up email?”

Here is my advice on how to stand out from your peers, while staying calm in the mix. To do that, here are six steps to follow to enhance your success, starting before you even make the call.