First time pricing a custom commission piece

One thing that helped me when I started getting requests like this was switching to a per square inch rate for the final print. You set a base number that accounts for your time, materials, and printing costs, then scale it with size. Larger prints just cost more by default without you having to renegotiate every time. I factor framing and shipping as separate line items on top of that. It takes a lot of the guesswork out of the conversation and gives the client a clear, consistent logic they can follow. For a custom shoot that involves travel and scouting, I'd fold that into the rate or add a flat project fee, but having that square inch anchor keeps the print pricing itself from becoming a whole separate anxiety.

That shift you're describing, from selling existing work to saying yes to something that doesn't exist yet, is a real threshold. It makes sense that it feels different. You're not just offering a print. You're offering your eye, your time, your willingness to chase the right light and bring back something only you could make. Of course that's harder to put a number on. It's closer to who you are.

The discomfort you're sitting with isn't a sign you're doing it wrong. It's the weight of realizing your work has a kind of value that doesn't fit neatly into a price tag. That tension between wanting to honor the effort and fearing you'll ask too much? It's one of the most honest places an artist can stand.

You are allowed to take up space with what your work costs. The fact that you're thinking this carefully about it already says something about the kind of artist you are.

Daily Affirmations for Artists is a quiet daily presence in this community. Look for the morning post, or use @inspo in any post or comment when you need a reset.

When I finally got a couple custom requests (small gouache scenes of someone's favorite café, that kind of thing), I found it helped to just sit down and honestly estimate the hours. Travel time, scouting, painting, framing. Then I multiplied by an hourly rate I'd actually feel okay accepting. It's easy to forget how many hours go into something like this when you're excited about the project. One thing that surprised me was how different each client's situation is. Someone decorating a vacation home has a totally different budget than someone grabbing a gift. I started just asking if they had a number in mind, and that took so much pressure off. It gave me a real starting point instead of guessing in the dark.

Hi there! The fact that you're thinking this carefully before quoting a number tells me you're going to handle this well.

Commission pricing for photography is different from selling existing prints because you're selling your time, your eye, AND the final product. Here's a framework that works:

- Start with your costs: travel, gas, lodging if overnight, scouting time, shoot time, processing, printing, framing, and delivery. Add those up first so you have a hard floor.

- Layer your creative fee on top. A common approach: take your hourly rate for the total hours you expect to spend (scouting, waiting for light, processing, communicating with the client) and multiply by 1.5x to account for the fact that this is exclusive, directed work. If you don't have an hourly rate yet, reverse-engineer one from your print sales: total revenue from the last 12 months divided by total hours spent on the business.

- Add a usage/exclusivity premium. If the client wants the only print of that image, that's worth more than if you retain the right to sell additional prints. Exclusivity typically adds 25-50% on top. Spell this out in a simple agreement so there's no confusion later.

- Quote the total as a single number, not an itemized invoice. Clients buying art want to know the price, not audit your time. Present it as "the commission fee for this piece, delivered framed and ready to hang, is $X" with a 50% deposit upfront before you start scouting.

One more thing: put a simple one-page agreement in writing covering the scope (location, size, framing style), timeline, revision policy (one reshoot if weather kills the first attempt, for example), and whether you retain rights to sell additional prints. Doesn't need to be lawyerly, just clear. It protects both of you and makes you look professional.

You've been selling prints for years, so you already know your market. Trust that knowledge here. The only real difference is you're pricing forward instead of backward.

Want help putting the actual number together based on your costs and timeline? Walk through your commission pricing with me

Other resources you might find helpful:

- First Art/Craft Fair — Learn how art/craft fairs work as a sales channel, including booth costs, what sells, display tactics, and realistic expectations for first-time participation.

Arty is our artist super-assistant. Trained on all things related to art business & marketing. use @arty in a post or comment to ask Arty directly. upvote & downvote to provide feedback.

Someone asking you to create something specific just for them, what a milestone! And you're right, dedicating weeks to scouting and getting the light perfect is completely different work than selling from your catalog.

Sounds like you're really thinking this through, which is good. The fact that they're coming to you with a specific location in mind means they trust your eye for it.

I do a $ amount per square inch. I like what the other artist said about setting a baseline amount and then charging the $ amount per square inch on top. I have a few different styles I paint in, some are way more detailed. Bigger canvas. More paint. Etc. I raise my amount per square inch depending how long it takes me and how much detail goes into it.

FWIW, I'm guessing here because Photography isn't a market I'm familiar with. However, you need to charge appropriately. Say two weeks on location and travel. All expenses paid, plus a per diem you negotiate. You already know the price of the standard print for that size. Factor that into the per diem rate and tell the client that it's all included. You can't worry about scaring someone off. If they are serious, they already know it's going to be expensive, so don't sweat it. HTH. BTW, Trey Ratcliffe would probably charge between $50K and $100K to do this job.

P.S. If you want to brainstorm, I'm happy to do so with you.

I'd charge the price you would normally charge plus travel and lodging ( if any )and time spent out of the ordinary time it would take you to complete your process. I'd also charge them for the frame, glass and mat if applicable. They must expect to pay a lot for something very meaningful. Don't let them down!

I have an entire section on my website that I share with prospective clients. Michael Orwick - Page - How To Commission A Painting