A photography rate card
you can send without flinching.

Storyflow covers the whole of this: day and half day rates, pre-production and travel, crew, retouching levels, expenses and licence tiers as rows in one table, with a currency column and a Sum footer that follows every change. Send it as a link that needs no account, or export it as a PDF. Invoicing and e-signature still belong to HoneyBook, Bonsai or your accounting software.

A rate card carries day and half day rates, pre-production and travel days, assistant and crew, studio hire, retouching split into basic and heavy, expenses passed through, and licence tiers set by media, territory, duration and exclusivity. Then the terms: rush work, overtime, cancellation inside forty eight hours, reshoot conditions and when payment is due.

Add what you need to earn to what your business costs each year, then divide by the days you can honestly sell. Remember that roughly every shooting day comes with a day of editing, quoting and admin, so a full working year is far fewer shooting days than the calendar suggests. The result is your floor. Licensing is charged on top of it.

No. The rate card is the price of parts and it stays fixed. A quote applies those parts to one job: two days, one assistant, twenty retouched images, this licence. A proposal wraps that quote in the idea, the references and the schedule. Keeping them separate is what stops you inventing a fresh price for every client.

Either works as long as the card exists. A Storyflow link sent in the first reply filters out the enquiries that were never going to reach your floor, which saves you the call. Some photographers publish a starting figure and send the full card once they know the usage, since usage is what moves the number most.

Price licensing on four things: which media the pictures run in, which countries, for how long, and whether anyone gets exclusivity. Write tiers rather than a formula, from internal use up to a full campaign, and give each tier its own row and number. Named tiers turn a negotiation into a choice between rows.

Price retouching separately because twenty simple finals and twenty with heavy skin and product work are not the same week of your life. Two levels with a price each makes the difference visible, and it lets a client who wants forty images choose the level rather than assume the harder one is included.

Storyflow lets you drag any rate row wherever you want it on the board. It does not sort a table for you, so the order is the one you set by hand. Most photographers order the card the way a client reads it: days first, then crew, then retouching, then licence, then terms, which is an order a price sort would destroy.

Storyflow is where the numbers are worked out, shown and shared. It does not send invoices or take payment: invoicing, deposits, contracts and e-signature belong to HoneyBook, Bonsai, PandaDoc or your accounting software. The card is what you build the invoice from, and it stays on the board after the money has moved.

Yes. Storyflow's view-only link opens in any browser with no account, on a laptop or a phone. Signing in is only needed to leave a comment. Anyone a paid member invites to a board joins free, so a producer working with you can be given real access without buying a plan.

Storyflow's AI can lay out the card and do the arithmetic you describe, and it can draft the licence tiers for you to edit. It cannot tell you what your work is worth in your market. The numbers are your decision, and the honest version of them comes from your own costs.

Once a year is enough for most photographers, and it takes ten minutes when the working out is already on a Storyflow board. Look at what you actually earned per shooting day, at the licences you gave away, and at the lines you absorbed. Change those before you change the headline day rate.