A content and publicity package for five-star wine estates, in partnership with Condé Nast House & Garden and Private Edition. One day on your estate produces a guaranteed editorial feature in the title you choose, and a year of content you own outright.
A guaranteed editorial feature in Condé Nast House & Garden or Private Edition. Plus one full production day on your estate, up to 150 images and films you own outright and can run in every channel you sell in, and three models cast to your guest profile.
Up to ten hours of active production within a dawn to dusk window, shot around the light rather than the diary. You choose the balance between stills and motion.
The bank is built to be deployed, not archived. One production day feeds a year of marketing across every surface a guest touches before they book.
Homepage, room and experience pages, and the booking flow itself. These are the frames that decide whether your rate feels justified.
Pre-arrival, on-property, re-booking and win-back sequences. Motion in email lifts click-through where a static hero cannot.
Cuts for Reels, TikTok and Stories. Each film is framed for a single orientation, so you choose vertical or horizontal per piece, or a mix across the set.
Booking platforms, collection and consortia listings, agent packs and trade shows, all running current imagery rather than a library that has quietly aged out.
Static and motion creative for Meta and Google, with enough variants to test properly rather than run one asset to fatigue.
Brochures, in-room collateral, rate cards, and press-ready files for titles beyond the feature. Shot at print resolution from the outset.
Delivered as an organised, tagged, searchable library. Not a folder dump. You own the library outright, in perpetuity, across all channels and territories, with no re-licensing fee ever. Talent-led imagery is contracted for three years, all media, worldwide, and extendable.
The production is built to feed a print feature, and the space is committed before the cameras come out. Two national titles. You choose one. Same fee either way.
Editorial, not advertorial. That distinction is the entire point, and it is why the space is worth more than an advert. Your placement is confirmed in writing before the production date. If a title has already committed to a comparable property in that issue, we move you to the next available one. The feature happens either way.
Signature. Date secured, talent approached, the title conversation opened.
Creative direction and shot list agreed with your team. Talent presented for approval. Recce.
Editorial placement confirmed in writing. Production plan locked.
The production day, 06:00 to 19:30, built around the light.
Edit, grade and delivery of the full library, tagged and ready to run.
Seven weeks from signature to delivery. A title closes its book well before the issue reaches the shelf, so the practical decision date sits earlier than it looks.
A title will not run two neighbouring estates side by side. Each issue carries a single slot for any one valley.
Some estates want both titles. That needs two production days and two entirely separate sets of images and talent, so it is quoted separately.
Plus pre-production and creative direction, the full production day with photographer, videographer and producer, full edit and grade, delivery as a tagged and searchable library, and editorial liaison throughout.
Specialist equipment beyond the standard kit, such as drone permits or cinema-grade rigs, quoted separately if the creative calls for it. Props and florals. Food styling above what the kitchen already plates. Extension of talent usage beyond the three-year term. Extraordinary travel and accommodation outside the Cape Winelands, where applicable.
Your kitchen plating for cast and crew across the production day. It is the one thing we ask for on the day, and what comes out of the kitchen ends up in the frame. Selected frames are held from your channels until the feature is on the shelf. We will tell you exactly which, and it is a short list.
Twenty years across brand, content, publicity and commerce, including creative direction for Glenmorangie, Marriott and Belvedere.
Most photographers hand you files. I run the channels those files have to perform in: PR, CRM, paid and conversion. So the shot list is built backwards from where each asset will sell, and the bank arrives tagged to the placement it was shot for.
One full production day. Up to 150 finished images and films, the library owned outright. Three models, cast and contracted for three years. And the editorial feature in the title you choose. All in.
And those rates are conservative.
One day on the estate.
A year of content. A national feature.
Next step: a thirty-minute call to agree creative direction and confirm which title we are timing to. Print lead times drive everything, so the decision sits well ahead of the shoot.