Questions business owners ask.

Restaurants and cafés, builders and trades, retailers and product brands, real estate, clinics and salons, venues and nonprofits. If you have a story to tell or a product to sell in Cache Valley, I can help.

Social content days, commercials and brand films, commercial photography and drone, social media management, and web design with local SEO. Most clients start with a Brand Kickoff Session.

Both. I love building ongoing relationships through monthly content and social media plans, and I also take one-time projects depending on availability.

I'm based in Logan and cover all of Cache Valley with no travel fee. Bear Lake, Ogden, Salt Lake and beyond are welcome with a travel fee quoted up front.

Kickoff Sessions are delivered within a week. Most other projects take one to two weeks. Rush options are available, and you'll know the timeline before we shoot.

Yes. Before we shoot I gather your brand details and visual direction so everything feels seamless and on-brand.

That's normal. Part of the job is helping you find clarity. I'll ask the right questions and build a shot list that works for your goals.

Yes. Every track is fully licensed, so you never have to worry about copyright claims on Instagram, TikTok or YouTube.

Yes, I travel, and no, there is no Idaho surcharge. I am based in Logan, Utah, and Preston is inside the area I already serve, so a Preston business books me the same way a Logan business does and is quoted from the same published starting prices. What moves a quote up is the same thing that moves it up anywhere: a second shoot day, actors, a location I have to rent, or a very fast turnaround. Distance to Preston is not on that list.

Yes, I shoot corporate video and team headshots for businesses in Layton and the rest of Davis County, and the best way to do it is one planned day so the video and the photos match. Most companies need an about-us or recruiting video, a consistent set of headshots, and some footage of real work, and all three fit in the same visit. Nobody memorizes a script; your people answer questions on camera. A brand video starts at $1,200 and the one-hour Brand Kickoff is $950.

Tell them early, let them choose how much of themselves ends up on camera, and give them a real task to do instead of a line to say. Most freezing happens because people are surprised or handed a script, so remove the surprise and skip the script. Tell the team a week out what is being filmed, why, and who is on camera, and offer three levels of comfort: hands only, face while working, or talking. On the day, film real work first and save anything spoken for last.

A small Cache Valley crew usually gets you the person who shoots it also editing it, fewer layers between you and the finished video, and a budget that goes into the footage instead of meetings. A big agency makes more sense when you need media buying, multi-city campaigns, or a large cast and crew. Whichever option you look at, ask who will actually be holding the camera on shoot day.

A Brand Kickoff Session is $950 for first-time clients. Monthly content partnerships start at $1,800 a month, and brand films at $1,200. Everything else is quoted after a short call. See the pricing page for the full list.

Use the contact form or email SarahRasmussenProductions@gmail.com. I'll follow up with availability, pricing and next steps, usually the same day.

A commercial photographer in Cache Valley can run anywhere from a few hundred dollars for a short session to several thousand for a multi-day production. My own published starting points are $950 for the one-hour Brand Kickoff, $1,200 for a brand video, $1,800 a month for ongoing content, and $4,200 for a three-spot broadcast package. Those are floors, not flat rates. The biggest things that move a quote are time on site, the number of locations, and whether video is in the mix.

First-time clients start with my one-hour Brand Kickoff for $950: 50 edited photos and two short videos. Bigger product lists are quoted after a 15-minute call. Either way, product work comes down to two kinds of photos: clean frames on a simple background for your website and listings, and lifestyle frames with hands, props, and color for social. Every quote covers the planning before the day, the shoot itself at your location, and the editing afterward. What pushes it higher is more products, more locations, or adding video.

Ongoing content with me starts at $1,800 a month, and that number buys four things: a short plan, a shoot visit, the editing and culling that turns a visit into finished files, and the posting work that gets those files in front of people. Most of the value is in the shoot visit and the edited files that come out of it. Broadcast commercials, website design, and ad spend are separate, and I say so up front.

My three-spot broadcast package starts at $4,200 and covers the production of three finished 30 second TV commercials from one planned shoot: prep, filming, editing, and broadcast-ready files. That works out to about $1,400 per finished spot, all shot in one production window. It does not include airtime, which you buy separately from the station or cable company. It comes in threes because one commercial on repeat wears out fast, and three spots let you rotate messages.

Two to three weeks is comfortable for a photo shoot or a single brand video. TV commercials take longer because of scripting and approvals. I try to stack shoots in the same area on the same day when I can, so if you are flexible on dates I can sometimes get you in faster.

No, it is not too late, but October is the month it becomes urgent, because your holiday photos need to be edited and scheduled before Black Friday weekend, not shot during it. Book in early October and you have time for a full gallery, edits, and a real posting plan. Book in November and you are shooting whatever is in stock that day and posting it the same week. Decorate one corner, pull your ten best gift items, and the shoot itself takes half a day, starting at $950.

Fewer than you think. A business needs one photo for each place a photo has to live, and for Boneyard Barbering that came to seven: the work, the room, the person, the products, and the brand on the wall. Count the places a photo has to go, like your Google profile, website header, Instagram, about page, and product posts, and shoot for those instead of for volume. A small delivery is easier to actually use, because nobody has to sort it.

A small business homepage needs about ten specific photos, and most local sites are missing six of them. You need a wide hero with a person in it, your front door, your face, your hands working, your product, one detail that says who you are, a plain background frame for text, a customer moment, a local landmark, and your brand mark out in the world. The hero is the only photo most visitors will ever see, so shoot it wide, horizontal, and with a human in it. The whole list fits in one half-day shoot.

You photograph jewelry without reflections by controlling what the metal can see. I surround the piece with big, soft, white surfaces, keep the camera far enough back that it never shows up in the gold, and use black cards to draw edges instead of hoping the room cooperates. Polarizers help with glass and flat stones, but they flatten the sparkle in faceted diamonds, so I use them carefully. One large, soft light from above and behind beats three small ones.

January is the best month for headshots and team photos in Logan, because everyone who will be on the team this year is finally in the building, budgets and websites reset at the same time, and my calendar is open before spring. Book a morning, shoot the whole team in one consistent setup, and you are done for the year. A team of ten is usually a morning, not a day. Plan for the new hire in June now: same setup, same wall, five minutes.

A two day shoot beats a one day shoot when the two halves of the job need opposite conditions. Food wants steady, soft light and a kitchen that is not slammed; people and buildings want the sun, which in February is low and gone by late afternoon. Two half-days often cost about the same as one long day and lose far fewer shots to rushing. One day is still right when the whole job is one kind of shot, like a menu-only or headshots-only day.

Yes. Crust Club's fall pie photos were taken on one day in July, and the frames that work for September share three things: warm golden crusts, neutral backgrounds instead of bright summer colors, and motion like cutting, lifting, and serving. Neutral and white backgrounds age well, while bright backdrops pin a photo to summer. Sort a big shoot by season the week you deliver it, not months later.

A brand video is a video about your business, made to live on your website and social feeds where people choose to watch it. A commercial is built to interrupt someone during a paid ad slot, so it is shorter, tighter, and organized around one offer with one call to action. My brand videos start at $1,200 and a three-spot broadcast package starts at $4,200, and the gap is about how many finished pieces you get and how strict the format has to be.

A local TV commercial takes about eight to ten weeks from the first phone call to the day it airs, if nobody is rushing. That covers the creative, pre-production, one shoot day, editing with two rounds of revisions, and getting the finished file to the station or ad platform on time. It can be compressed to four weeks when everyone is decisive, and it stretches when approvals stall.

A video ad should be as long as the place it runs allows and no longer than the idea needs. On local TV that means a 30 second spot with a 15 second cut of the same footage, and the 15 usually runs more often. On Instagram and Facebook, most ads should land between 6 and 15 seconds, vertical, with the product or the face in the first frame. Anything over 60 seconds is a brand video for your website, not an ad.

No, you cannot put a popular song in your commercial just because you bought the album or because it is on Spotify. A commercial needs a sync license from whoever owns the song and a master license from whoever owns the recording, and for a hit song those cost more than most local ad budgets. The TV station's music license covers what the station plays, not the music inside your ad. Local video ads use music from licensed libraries, custom tracks, or a local artist who signed a written agreement, and a library track costs a fraction of a shoot day.

Two rounds is the honest answer. Round one fixes the big things like structure, pacing, and music; round two polishes the small things like text, color, and timing on a cut or two. One round means one consolidated list of notes from everyone who gets a say, on one cut. A third round usually means the brief changed, and fixing the editor's own mistakes is never a revision and should never cost you a round.

Usable testimonial footage comes from asking about the problem, not the praise. I ask what was going wrong before, what almost stopped them from calling, and what they would tell a friend who is on the fence, then let them talk and cut the good sentence out later. I never hand them a script, and I have them fold the question into the answer so every clip stands alone. Two cameras, one good microphone, their own space, about twenty minutes per person.

No. You add me as a partner or collaborator on each account, so you keep ownership and can remove access any time.

Yes. The month's calendar is shared with you first, and nothing goes out you haven't seen.

Plans run month to month after an initial stretch long enough to see results. Consistency is what makes social media work.

Most local businesses already use it, it's easy for you to edit later, hosting and security are handled, and built properly it ranks well.

Yes. The Squarespace account, the domain and every word and photo are yours. You can edit it, or hand it to someone else, any time.

Pages are usually indexed within days. Rankings build over weeks and months as the site, your reviews and your Google Business Profile work together.

Yes. Instagram is where people discover you and check that you are alive. Your website is where Google sends people who are already looking for what you sell, and where they confirm your hours, your address, and whether you are worth the drive. Instagram does not show up in a "pizza near me" search, and you do not own your Instagram account the way you own your domain. The fix is not a big website; it is one clean page with your best five photos, your hours, and a button.

A social media manager's month is mostly planning, shooting, and organizing, not posting. For my ongoing clients I plan the month around what is new, shoot everything in one batch, lay the grid out before anything goes live, then schedule, watch, and report. One planning conversation and one shoot day cover a whole month of photo and video, and the grid gets built and approved as a set. Numbers get checked once a month with a short note on what worked.

Google Business Profile wants a specific set: a clean exterior that matches what the customer sees from the street, an interior that shows the room, your best products or dishes, and your people at work. Upload in that order, exterior, interior, product, team, then everything else. Delete or replace anything with text overlays, heavy filters, old prices, or a logo where a photo should be, and add a few new photos every month so the listing never looks abandoned.

A small business website in Cache Valley needs five pages: Home, About, Services (or Menu), Work (or Gallery), and Contact. Home answers "what is this and is it for me" in the first screen, About and Work are where local customers decide to trust you, and Contact has your phone number, hours, and a map. The cost is driven far more by whether you already have good photos and clear words than by the number of pages.

Yes, but only when each post answers a specific search a real customer would type and links back to the pages that book work. It is slow: in Search Console a blog shows up first as impressions, then as clicks, and only later as calls and form fills. One post about a real project outworks three generic ones, and internal links from posts to service pages are what turn a blog into bookings.

Yes. If drone footage is being made for a business, whether that is a commercial, a real estate listing, a social post, or a website header, the FAA requires the pilot to hold a Part 107 Remote Pilot Certificate, even if nobody is paid. The rule is about the purpose of the flight, not the size of the drone. Without a certified pilot the footage is a liability: the FAA can fine the pilot, insurers can decline a claim, and clients can be asked to pull the video.

Aerials add flight time and planning, not a mystery fee, and my Part 107 certificate is already included. A listing video is quoted against my published starting prices, $950 for the one-hour Brand Kickoff and $1,200 for a brand video. Where a specific home lands depends on whether it needs aerials, how big it is, whether the agent or builder is on camera, whether you want a twilight exterior, and how many versions you need cut.

Yes. Drone footage over farmland is allowed under my FAA Part 107 certificate on both sides of the state line, so a Preston or Franklin County shoot gets the same aerial work a Cache Valley shoot does. Preston and the rest of Franklin County are part of my normal service area, not a special request.