How much should I charge?... Unfortunately there is no simple answer. Charge as your market allows. I charge a fair market base rate with all expenses included. As a newbie, I suggest calling photographers specializing in your genre of photography. You can pretend you are a perspective client. 

Here are some points to consider when calculating your professional rate:

Are you using your own equipment?
If you bought a camera system as opposed to that luxury car you always wanted than you may consider adding that charge. You have to consider the maintenance charges of high-end equipment and that your shutter will only work so many times. You also should consider the unfortunate occasion that your equipment would be damaged or even stolen in the field. If you are traveling with equipment consider an insurance binder.

How many hours per day?
-Anything over 8 hours should be a premium. Time and a half or an extra half day rate automatically. So if you charge scale ($1800 a day) after 8 hours charge an automatic $675 in two hour intervals. Whatever works for you, but overtime should command a premium. For a half day rate I also suggest a premium. So if your day rate is $1800 than a half day should be $1000. Again this is an area that you need to resolve on your own depending on your needs. It doesn't matter if it's a half day, or whole day, you still have to set up, acquisition props, scout locations, hire talent and so on. I would never slam a client with a half day fee after only going over 30 minutes on a shoot. Be reasonable.

How many rolls of film do you intend to shoot?
-This is a matter I differ in opinion with many photographers. As long as I maintain the rights, I shoot as many rolls as it takes to get the shot. In fact, I prefer to overshoot my subjects. There is the possibility to sell more photos especially reprints if there is more of a selection. You will have more to use for your own personal aspirations, from your portfolio, to fine art prints. If you are giving up rights to the images, I suggest maybe charging extra for rolls shot above and beyond what was originally agreed upon.

Who owns the rights?
-Your rights are your bread and butter.  It depends on what exactly I am shooting and whether I would have any use personally for those images. If I am shooting a product shot, I know I will have little or no use for such an image so I would prefer to sell those rights outright adding a premium to my day rate. Plus remember you will have to maintain and later dig up any images for reprint on that later date. Will it be worth the trouble. A skyline shot, for instance, would be great for my stock archive and could possibly be resold. You can share the rights to those images.

Should I get reimbursed for all expenses?
-Absolutely. To and from, for materials and processing may usually be resolved by mark ups passed on to the client. The same with shipping. Time, miles and all incurred expenses should be passed on. How exactly you should pass on that charge is up to you either through adding a flat percentage to processing charges, or charging for miles at a prescribed rate per mile. You'll know what it takes before the shoot and you can simply figure it into your day rate.

What about equipment insurance?
-Some employers may try  to not compensate you for insuring your equipment whilst traveling in areas known for poor security or thievery. Are you willing to risk your livelihood. your equipment, for a single shoot? I wouldn't. This of course wouldn't be the issue if your employer owned, or rented their own equipment. Unfortunately attitudes vary. I say stand up! Don't carry that burden! It is only just that any particular client or employer be responsible if anything should happen to your equipment as a direct result of being on a shoot if there is no sign of negligence in the part of the photographer or buy or rent their own damn equipment! Are you willing to compromise your livelihood?

When should I demand a contract or release?
-Whenever you are shooting people make sure you get a release, if your agreement guarantees you rights to the photos. If you, or a client plan to market that photo for any commercial gain, you should consider a royalty, like 1%. One camera man I used to work with used to pay people a dollar and get them to sign a release. By accepting payment and signing the release they would have absolutely less way of demanding royalties. This is not a concern for journalistic and editorial photography, only advertising when the person is recognizable.

I've had to shoot people in an unrecognizable way for use in ad work, but only in a pinch. I do enjoy making artwork by shooting street scenes. It has always been a compelling subject for me. A general rule of archeology is to not be from the place you are studying, to remain objective. Then again, unless you are a local you'll never know where all the nooks and crannies are. It's like living in San Francisco and only seeing Fisherman's Wharf.

Negotiating a contract can be tedious, but in certain situations it is necessary. If a particular client or employer has proven themselves flaky, it might be essential.
Another way to handle this is to calculate your expenses and your labor and get paid in advance. That is a good way to avoid appearing adversarial. Sometimes demanding a contract can give someone the impression that you don't trust them. On the other hand demanding payment in advance could give the same impression. It's a matter of preference. I personally take my payment in advance and guarantee my work will be up to snuff. Over the years I've only had one client demand a re-shoot. I did it with a smile, though I knew I got the shot the first time.

How do you know what the client expects?
-This is another matter that can cause problems. I like to break out the sketch pad and draw out a basic design. Draw stick figures if you have to. That will help protect yourself in the event that a client says that it is not what they envisioned. The customer is always right, to a point. Remember, a large portion of your income will come from repeat customers.

Be sure to find out what the specs are. It helps to communicate directly with the graphic designer being used. That will help ensure your work will be something you want to put in your book. Take a CD cover, if you shoot vertical with a 35mm, for instance, then ad type-face to the top and/or bottom, you have little vertical space left for your subject. I have had to explain again and again why the shot doesn't work with the layout. The only thing I can say is be sure of the format beforehand.
My suggestion is gather any and all info suggested above and use your judgment, as a professional. You need to know your boundaries.

Finally, you don't have to spell out every little cost to the client in writing. They may feel like they are being gouged. Yes, they will need to know how much your fee is, but they don't need to know how your day rate is calculated. Simply calculate labor and expenses and give a day rate. You're going to have to do the dance when pitching your services. The trick is not to price yourself out of the marketplace, while still being compensated for a job well done.

I wish you luck.

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