director & photographer
now: Tromsø, Norway │ available: worldwide
― TROMSØ, NORWAY • available worldwide
SHOT ONCE
seen for years
Live shows, events, and brand work.
same standard, every time.
CONCERTS & EVENTS
No second take.
Shows and events are most of what I shoot. That means fast, in bad light, in a crowd, with nothing repeated for the camera.
The band plays the song once. The artist does the thing you booked me to catch exactly one time, and then it's gone. Being ready before it happens, and standing in the right place when it does, is the whole skill. I have a good sense of where a moment is going before it arrives, and I am just as ready to change course when it doesn't.
Turnaround is fast. Selects land within 24 hours, because for a show or an event, a photograph that arrives a week late has already missed its moment.
SHOT ON THE GROUND IN TROMSØ:
LIVE MUSIC · FESTIVALS · EVENTS · SELECTS WITHIN 24 HOURS
CONCERTS & EVENTS
Per-show or per-day, never hourly. You get selects within 24 hours and the full set within five days, because live work is only worth what it's worth while people still remember the night.
Portfolio rights are retained.
SINGLE SHOW
NOK 5,000
30 to 50 images
FULL EVENING
NOK 9,750
FESTIVAL DAY
daily selects same night
NOK 10,500
multiple acts, one night
multi-day festivals get a per-day rate that drops after day three.
licencing
The above fees cover my time and the images. What you do with them after is licensing, priced separately, because a photo on a personal post and the same photo on a national campaign are not the same product.
Cost climbs with reach:
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Organic social sits at the bottom
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Website and print use rises from there
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Paid ads, billboards, and out-of-home climb higher
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National or international campaigns and long run-times cost more again
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Exclusivity, locking the images so nobody else can use them, sits at the top
Live work adds a layer: artists, labels, venues, and press each want different rights to the same night, quoted on their own.
Tell me where the images run and for how long, and I'll fold a clear licensing line into the quote. Full terms on request.
BETTER BRAND VISUALS
COMMERCIAL WORK
Most commercial jobs come down to a simple question: what's the image for, and how hard does it have to work? A property listing needs to sell a flat by Friday. A brand shoot has to hold up on a website for two years. A cocktail bar needs a menu that makes people order the drink before they've read the name.
I price the more common work at one flat day rate, whether it's a room, a rail of clothes, or a table of food. Basic kit is included. The things that genuinely add cost, studio hire, travel beyond Tromsø, extra lighting, a stylist, get quoted on top only when the job actually calls for them.
No padding, no surprises on the invoice.
Editorial and advertising sit outside the flat rate, because their value depends entirely on who the work is for and where it runs. Those get quoted on their own.
SHOT ON THE GROUND IN THE ARCTIC:
BY THE DAY
COMMERCIAL WORK
One flat rate for general commercial shoots, whether it's a property, a rail of clothes, or a table of food. Basic kit is included. Studio hire, travel beyond Tromsø, extra lighting, and any prep are quoted on top when the job needs them.
Portfolio rights are retained.
NOK 9,500
NOK 14,000
STARTING FROM
HALF DAY
FULL DAY
Four to five hours on site. Enough for a property, a small look book, or a set of dishes. Delivery in 5 to 10 working days.
A full, 8 hour working day for larger jobs: a full property with interiors and exteriors, a bigger fashion set, a full menu. Delivery in 5 to 10 working days.
STARTING FROM
Editorial and advertising
These are not everyday shoots at an everyday value. A campaign for an international brand and a shoot for a local account are different products, and the rate depends on who the work is for and where it runs.
Send me the brief and I'll quote it seperately.
REAL ESTATE &
INTERIORS
Properties and interior features shot to sell. Fast turnaround, because the estate agent market runs on 24 to 48 hour delivery and I work to that. Design-led architecture with publication in mind is a separate, larger job, ask me.
PORTFOLIO READY
Samples of my work below.
FASHION &
BRAND
NEW TERRITORY
This is where I want to grow, and I'll be straight with you: I have shot fashion, but not yet for a brand under commission. My editorial eye and film direction are real. A brand-specific portfolio is not, yet. If you want early work at an honest rate from someone who knows exactly what they're doing with a frame, this is the moment to talk.
Model, stylist, and studio are the client's cost unless agreed otherwise.
FOOD &
COCKTAILS
NEW TERRITORY
Same honesty as above. I can light and compose a plate or a glass, and I have done it, but not yet on a paid restaurant or bar commission. If you run a venue and want someone with an editorial eye rather than a template, I'd take this on gladly and price it fairly for the first one.
Per-dish or day rate, depending on the size of the menu.
TESTIMONIALS
WHAT IT'S LIKE TO
WORK WITH ME
"Andie Szatmari was hired to document some of our movement rituals at Pust in Tromsø. She delivered beautiful photos, with a sharp understanding of our visual profile, and was lovely and professional to work with. Highly recommend!"
RAGNA S. • PUST, TROMSØ
"I wholeheartedly recommend Andie for any opportunity in the photography and travel industry. I am confident that she will bring excellent level of expertise, dedication, and enthusiasm to any role or project she undertakes."
JUHO U. • CEO, BEYOND ARCTIC
"Absolutely amazing experience from start to finish! The photographer did an outstanding job capturing every special moment with incredible attention to detail. The photos turned out even better than we imagined, beautifully edited, natural, and full of emotion."
MOHAMAD A. • 5-STAR GOOGLE REVIEW
who you're hiring
The kind of photographer who gets shortlisted.
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SHORTLISTED
Shortlisted as personal photographer for a royal family. The brief was to document daily life, join every activity, be in the water if they were in the water. I said yes without hesitation.
LISTED
Listed on the official Cannes Film Festival website as a director.
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PUBLISHEd
After a successful exhibition in Budapest opened by the editor-in-chief, I got published in Glamour magazine.
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film work
Production work on
Now You See Me 3 and Dune.
I know how to be useful without being in the way.
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COMFORTABLE ON BIG PRODUCTIONS
I have worked alongside luxury brands and film productions, and I know how to conduct myself on that kind of set.
That experience was not photography work, and I won't dress it up as though it was. What it gave me though is the part that matters when you hand a stranger access to your event, your product, or your clients: professionalism, discretion, and ease around people who expect both. I know when to be invisible and when to take charge of a frame, and I know the difference between the two without being told.
Listed as a director on the official Cannes Film Festival website, and published in Glamour. That is the eye you're booking. The behaviour on the day comes from everywhere else I've worked.
