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Internationally-renowned, award-winning animal photographer Illona Haus created scruffy dog photography inc. as the province's premier pet photography business in 2007 ... the first of its kind in Canada ... and, still today, continues to serve clients across Ontario, the US and the world. Based in Kitchener, Ontario and photographing exclusively animals for almost 20 years - both commercially and for private clients - Illona is considered one of the world's leading and most influential pet photographers.

 

To learn more about scruffy dog photography, its creator, history, and the scruffy dog experience, feel free to browse through the menu above, and scroll over a decade's worth of blog entries below!

 

Please drop me a line! I'd love the opportunity to capture stunning, creative, one-of-a-kind photographic memories of your 4-legged loved ones to treasure in artwork for a lifetime, and show you just what makes the scruffy dog experience second to none.

The True Cost of Custom Photography

This is going to be a long one, but … it is also long overdue.

Over the past decade and a half that I have run scruffy dog photography, I have linked to various other professionals’ articles on the ‘reasons custom photography costs more’.  In some cases, those photographers have left the industry, because – let’s be honest – this can be a tough haul.  In other cases, if those articles are still up, they are outdated, as business and equipment costs go up and up and up.

Nowhere online can I find any public article by a fellow pet photographer breaking down the true cost of running a full-time pet photography business and what actually goes into just one session.  And, as a mentor, an educator, and someone who has been working as a full-time photographer since 2007, I figured maybe it was time that I be the one to write this.

 

So … what are you really paying for when you hire a professional photographer?

 

REPUTATION & EXPERTISE
Of course, it should go without saying: when you hire someone who has been in the field at least a few years – and who has specialized in one particular niche, like pets (vs. a general photographer) – you are investing in far more than their talent.  You are benefitting from the experience of someone who has shot thousands of sessions in different locations, under varying conditions, and – in this case – thousands of dogs.

Now, sure … some dogs might be relative pros.  However, most possess only a rudimentary understanding of obedience and lack the ability to quickly adjust to new settings and new ‘asks’ from their guardian in order to be an effortless model.  And when you hire a pet photographer with experience you are hiring someone who can guarantee they can get the best out of your dog.

… and the best out of the light, the location, and the situation.  If they are a true pro and have put their years in, they have seen it all.  No matter how crazy the dog or the situation, no matter how challenging the lighting or the location, they’ve already dealt with it before and managed it with expertise.  And if you do throw something completely new at them, their vast experience provides them with the ability to adapt, to think outside of the box, and still create stunning images of your dog for you.

When you hire a seasoned professional – especially one who has focused all those years on a singular niche – you can hire with confidence.  No matter what you throw at them, they will be able to create consistently amazing images, and at a high level of quality so that your images can be beautifully laid out in a custom-designed album or printed as large artwork for your walls.

 

ACCESSIBILITY
As I enter my 15th year in business (and more years than that using professional equipment to photograph dogs) I’m not here to justify my business’s pricing.  In fact, all things considered, I’m actually undercharging the majority of my clients. Why?  Because, I have always wanted to remain accessible to any client who loves their pet and wants those photographic memories and artwork.  At the same time, like most other self-employed adults, I have to live; I have to put away for retirement; I have health costs and carry a mortgage.

And yet, I continue to encounter people (including hobbyist and part-time photographers) who seem to think a photography business is merely a hobby for us professional photographers, and not our sole source of income … people who simply have no concept of what actually goes into creating those images you see on a photographer’s website, and no clue as to the true costs of running a business – incorporated or otherwise.

 

So let’s take a look at the reality of running a professional photography business … the costs and all of those unseen hours.

 

Every professional has overhead and ongoing costs.  For a professional photographer, these are many.  The following are merely a few…

BIG TICKET ITEMS

    • cameras and lenses:  $25,000-30,000
      In order to capture high-quality images for each session – regardless of the location, lighting, weather, etc., and especially shooting dogs and high action – you need top-end professional equipment. My own camera bag at a session never holds less than $30K worth of professional cameras and lenses.
    • other lenses and backup gear:   $10,000-20,000
    • peripherals (memory cards, filters, batteries, etc.):   $500-700
    • session gear (camera bag, trolley, etc.):  $900
    • handling gear (long lines, tie lines, and a myriad of equipment to manage your dog):  $500
    • computer equipment + professionally calibrated displays + peripherals:  $20,000
    • software:  $1,000
    • a sound, reliable, and appropriately-sized vehicle including all dog related gear and riggings, as well as branding (and in my case, the vehicle belongs to the business):  $45,000
    • office furnishings:  $2,000-4,000
    • sample artwork:  $3,000

… and none of these costs are one-time expenses.  Equipment needs to be regularly upgraded, gear needs to be replaced, etc.  In the span of my own business, I am onto my second vehicle, have upgraded all of my camera gear 5 times (including a complete switch in brands), and upgraded my computer systems 4 times.

 

ANNUAL COSTS

    • insurance on all of that camera gear, office equipment, and office space:  $2,200
    • security system (and I’m not talking the scruffies; they actually cost much more!):  $1,200
    • rent, utilities, extra-high-speed internet, etc. … (even if your photographer is working out of a home studio, a good portion of their space is dedicated solely to their business):  $8,500
    • vehicle insurance:  $1,650
    • vehicle expenses including fuel:  $6,000-7,000
    • routine cleaning from client dogs:  $600
    • computer IT / support:  $1,000
    • marketing and promotion (business cards, brochures, tradeshows, artwork displays, etc.):  $5,000-6,000
    • website and server fees:  $1,500
    • website maintenance etc.:   $3,000-5,000
    • point-of-sale fees and bank charges:  $3,000-6,000
    • off site backup:  $1,500
    • office supplies:  $1,000-2,000
    • session supplies (treats, toys, etc.):  $650
    • accounting and filing corporate taxes:  $1,500
    • professional fees & memberships:  $600
    • cell phone + fees:  $1,200
    • professional subscriptions:  $800
    • annual software fees:  $900

I’ve been at this pretty-much single-handed for 15 years and have always felt confident in addressing my clients, handling their dogs, and shooting at the same time.  However, some photographers require assistants or dog wranglers, and this adds another level of costs.

Not included in this annual breakdown is:

    • cost of goods sold to clients, which annually ranges from $30,000-45,000
    • business / corporate taxes

 

In the end … my total annual operating costs can run anywhere from $45,000-80,000 or more.

 

Any self-employed professional will tell you:  as a small business, you’re lucky if even half of your gross income goes to you as salary … while the other half (or more) goes to the cost of equipment and running the business.  In fact, looking at my last Income Statement from my accountant, my Net Income was barely 25% of my business’ sales.

 

UNEXPECTED COSTS
And on top of all of those costs and expenses, there are so many unseen and, yes, unforeseen costs … like, in my own business history, well over $25,000  spent internationally on trademark applications, and then legal fees to protect that trademark, IP infringement, and my brand and reputation over the years.

 

 

But hey, I get it.  Everything I’ve presented so far is just business numbers.  What if you’re a client and you’ve never run a small business?  All of the above may mean little or nothing to you.

 

So let’s look at the hours … the breakdown of actual physical hours that a photographer will spend just on your images.

 

THOSE LONG, UNSEEN HOURS FOR THE CLIENT
Let’s say your photographer charges $500 for a session aimed to capture a huge variety of images for you so that you can order a stunning wall piece, fine art prints, and a custom-designed album.

For this type of session – to achieve incredible variety for an album – your photographer would typically shoot at least 3 hours.  Wow!  $167/hr.  That’s not chump change.  But wait …

The time that you actually spend with your pet photographer – out in the field with your dog – is only the very tip of the tip of the creative iceberg.  What a lot of clients aren’t aware of is all of the other hours that go into your session and your images.

Here is a typical “album” session, designed – as mentioned – to deliver huge variety for a fabulous, one-of-a-kind album and artwork:

  • 1-2 hours pre-session admin (emails, phone calls, answering questions, invoicing, contract, etc.)
  • 1 hour pre-session consult
  • 1 hour travel to and from the session at no charge
  • 3 hours session (although this typically would end up being 5 hours as we move to various locations and take the time needed for your dog)
  • 2 hours sorting and culling images and backing them up
  • 5-10 hours of editing (in my case I do far more than just basic editing on each image in the finished gallery so that clients can see the full potential of each image)
  • 1 hour exporting finished images, watermarking, backing up
  • 1 hour admin: gallery upload and emails
  • 1-2 hours in-studio or phone ordering consult
  • 1-2 hours admin: reviewing order with client, answering questions, making suggestions, doing up storyboard mockups, etc.
  • 3-4 hours final prep on images to go to print – leash removal, removing any other distracting elements like debris, dandruff, tear staining, shaved areas on a sick dog, swapping heads, etc.
  • 2-4 hours of prep and design
  • 1 hour of emails, arrange time for pickup of order, etc.

All totaled, the hours put into your session alone, your images, and ultimately your fine-art products and album can run anywhere from 23 to 36 hours total.  That’s twelve times the hours you actually spent with your photographer at your session … and the equivalent to almost a full week of work!

Now, on the other hand, for a client looking at just a short session for a few good prints and a wall piece … a 1/2 hour session … the total hours for this type of client would be approximately 7 to 8 hours.

 

Please understand though, these long and unseen hours are only ‘client hours’ … hours that are dedicated to you and only you.

The non-client hours are vast …

  • initially creating the website, the brand, and frequent upgrades to those over the years
  • maintaining the website
  • compiling and creating client information and materials (and having just updated all of my client materials, I can tell you that this was at least two weeks of 12-hour days including light updates to the website)
  • social media posts and blogging
  • developing promotional materials
  • developing and maintaining connections in the pet industry
  • learning new editing and photography skills
  • troubleshooting website, software and hardware issues
  • maintaining and field-testing equipment
  • location scouting

… I could go on.   And to be perfectly honest, these long hours spent building, launching, and then maintaining your own small business, are almost always incalculable.

What I can say – in the end – is that an average of 25% of my business’s gross income is salary, and more than 50% of my hours are non-client / non-billable hours.

 

Don’t get me wrong though.  I LOVE this work.  I LOVE navigating my way through this world as an artist, with clients’ dogs at my side, no less!  And I LOVE creating these lasting memories for my clients of their beloved dogs.  As long as I can keep shooting, there’s no place I’d rather be!

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    times they are a’changin’ ~ it’s now or never ~ Kitchener Waterloo Ontario pet photographer

    For those of you who don’t follow SDP on Facebook and/or Instagram  and if you don’t receive the scruffy dog newsletter … well … you will certainly be out of the loop, and will not have gotten the memo.  So I’m posting it here on the blog as well since time is running out!

    Here’s the thing…  In my 15 yrs of photographing exclusively pets, I have always made it a priority to be accessible to ALL pet guardians.  Distance hasn’t mattered, with clients traveling from all over Ontario and Quebec, from Michigan and New York, and even as far as Kansas and California.  Training and behavior hasn’t mattered, as I continue to work with every dog from young puppies who have yet to learn their name, to dogs with a bite history, and everything in between.  And just as relevant as those, I have worked hard over the years to make the scruffy sessions as affordable as possible to my clients – no matter what their socio-economic status.  I’ve had clients show up in their Porsche Cayenne and two days later have a client arrive in their rusted Ford, held together with duct tape and dog slobber.  As I have for the past 15 years, I continue to strive to make it possible for ANYONE to have images of their pet, whether that is a few good prints or a full wall of artwork and a custom-designed album.

    The fact is, though, year after year – besides the increased level of talent, skill and time that I invest into every client’s session and their images – my other costs have continued to rise, even before the pandemic.  Equipment upgrades (to the tune nearly $30K in just the past two years), insurance, vehicle, software, website costs, overhead, and all of my corporate fees … they just go up and up and up.  And then there are the costs at the lab for the fineart prints and products I deliver to my clients; as the lab costs go up, so do mine.

    Still, in spite of all that – because I want to continue to be accessible to ALL pet guardians for those very important and priceless photographic memories – I have not raised the scruffy dog session fees or the print and product prices in OVER FIVE YEARS.

    However , now, with the pandemic, times have changed. Drastically. Not only have the costs of running my business increased by an alarming rate over the past two years, I have just learned that the costs on the fine art prints and products for which my clients hire me have risen 30% due to a struggling supply chain and exorbitant shipping fees. As such, I can no longer skate along at 2016’s fees.

    So … it’s sink or swim time … and – as an artist and someone who understands first-hand the love people have for their pets, and the importance of those photographic keepsakes – I simply HAVE to keep swimming. But, sadly, the ONLY way I can do this is to raise my session fees and product prices to reflect the current inflation.

    As with any change in a business, this is a major undertaking and has required great gobs of time to address all of the website content, brochures, and especially my online and printed client materials, and invoicing, while STILL working hard to keep things as affordable as possible for my clients.

    Currently  I am in the final stages of this complete overhaul, and the revised fee structure will come into effect as of April 20th.  So … until that date, I am honouring the current prices (or more accurately, the 2016 prices).   NOW is the time to get yourself a scruffy session at today’s prices.

    The only catch: I need you to have your session booked by APRIL 20th … and your session needs to take place before the end of September. This is the only way I can offer the current rates.

    So please, if you’ve ever wanted a scruffy dog session, please consider booking soon in order to take advantage of the current rates.

    Please reach out now, let me know you are interested in booking at the current pricing, and I can send you the Welcome Guide to get the process rolling.

    I look forward to hearing from you … almost as much as I look forward to the possibility of working with your scruffy to capture some unforgettable images!!

     

    NOTE: For those scruffy clients already on the books for a session this year, no worries. I will honour the pricing you booked with.

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      Just a peek at image editing – Ontario professional pet photographer

      I’ve been photographing exclusively animals – dogs and the occasional cat and horse and a few other critters – for over 15 years now.  In that time I have gone through almost a dozen professional camera bodies, too many pro lenses to count, Nikon and Canon, several camera bags, jerry-rigged carts and trollies, not to mention hundreds of pounds of dog treats and too many session toys to count.

      I’ve also gone through five different custom-built computer systems and high-end Eizo monitors for the editing portion of things, which – when it comes to dogs and a natural setting – is a huge component of the images you have seen here over the years.  And I must say – as I always say to fellow photographers I mentor – no matter what, you have to start with a solid, high-quality and perfectly-exposed RAW image to begin with.

      For example … let’s look at this image of the stunning and VERY well trained Quill.  Here is the image straight-out-of-camera.

      This image is taken at 1/640 sec at f/3.5, ISO 500 with Canon’s 1DX iii and 70-200 f/2.8 ii.  I would have preferred to have shot this at 200mm, but there was no way for me to back up any farther in the deep snow, so it was shot at 70mm.

      Now, after so many years photographing dogs, you wanna bet I know better than to start shooting until I’ve had an opportunity to clear any distracting elements like all those dead weeds.  In fact, I even carry a pair of secateurs in my camera bag.  However, on this day, the snow between Quill and I is hip deep, and for this shot, I am actually sitting back in the snow as though I were sitting in a chair, it was that that incredibly deep.  Prior to this shot, we were having Quill run through this deep snow for some stellar action shots, so here was an instance where I could neither get to the weeds, nor did I want to trample the snow before we’d captured those running shots through fresh snow.

      So … all I could do – as he stood so proudly in that opening in the cedars – is shoot.

      Next we see the same image with my standard editing in LR. Again, we always start with a high quality RAW image … and – from my perspective – editing isn’t about fixing mistakes made in the field or creating something that was never there.  Editing is about shifting the image you shot into the image you SAW.

      Yes, when I sit hip-deep in the snow and ask Quill’s mom to stop him in that opening, I am absolutely seeing in my mind the burst of colour the cedars provide in this cold, white landscape … and I absolutely see the glow and light coming from the trail on the other side of this cedar patch.  But the camera doesn’t see all of these nuances.  Its job is to find neutral grey for its white balance and essentially ‘flatten’ that expansive, breathing landscape you see with your eyes.

      So it is my vision that dictates the editing I do … and in fact, it is the editing I know I am capable of that allows me to have that vision in the first place and know what look for and see when I am in the field.

      … definitely improvement over the flatter, rather monotone image straight-out-of-camera, but man, all those stupid, distracting weeds!

      So this is where I will take that image, still in LR, and edit it as a tiff in photoshop (as I prefer to keep my workflow on the images all in the same LR catalog).

      With this next image – while Quill looks smaller in the frame – I have actually increased the canvas size and resolution of this image from 5472 x 3648 to 6072 x 3992.  This way – should the client decide to have this image printed as a larger print, a canvas, or perhaps a full spread in a custom album – I have even more pixels to work with.

      So, in photoshop, I first increase my ‘canvas size’. Then I figure out the best way to tackle those horribly distracting dead weeds.  In this case, the best approach was to copy some of the cedars and use that to cover some of the weeds; and to use a combination of the cloning stamp and very careful content-aware fill – while zoomed in by 200 or 300% – to get rid of the weeds in front of Quill’s body and to the right of the frame.

      And for those wondering about the amount of work done an image like this before the client even receives the gallery … well, yes, I do put that work in with a very limited number of images.  Most of the images receive no more than my personal LR editing – which is still a LOT of time investment into each image – and with only a few do I conduct this kind of more extensive work.  I do this for a couple of reasons … I might want to share that image on social media … but mostly, I want to my client to know what is possible with their images.  I would hate for a client to not choose a particular image simply because of some distracting weeds.

      There are two more images of Quill in this setting … one where he is looking dead into the camera, and the other where he is panting and looking to his left.  I will likely put all three of the images in the client’s gallery, but only this one will receive that fuller extent of editing until I know if the client wants any of them in print.

      Of course, sometimes I just like to have a little laugh with an image and a fun client, especially one who knows her super handsome dog is really a fun-loving dufus …

      While culling Quill’s images the other day, I thought that this image – with the placement of his feet – looked as though he was doing some ballet instead of catching the ball …

      I could see it in my mind!  … and I was already giggling when I went back to his images to find a usable ‘head’ … pasted it on his body and sent it to his mom who probably laughed as hard as I did.  It is SO Quill … like: “what? nothing to see here. I’ll just pirouette on over this way.”

      And sure enough, in the same moment I received her response about a adding a tutu, I was already on a stock site searching for a png of the right pink tutu.  Of course, the funniest part in all of this is that THIS image is more true to Quill’s fun-loving, dufus, comical character than the first image I shared.  LOL

      I hope you enjoy Quill’s image.  Of course, this boy is a rare model in the level of training that has gone into him.  I do have clients with dogs at similar levels, who can be off-leash and even collarless, but at least 90% of my clients over these many years need to keep their dogs on leash, and THAT’S OK!   There are ways around all of that as well – in the field and back at the computer – and I will try to share some more of that kind of shooting and editing content in upcoming blog entries.

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