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Musings of an Event Photographer

John Morris Photography | Las Vegas Event Photographer > Blog

Event Photography Case Study: WSOP Part 2

Event Photography & Poker players concentrating during the World Series of Poker in Las Vegas

Table of Contents

  • Las Vegas Corporate Photography: The World Series of Poker Part 2
  • Part 2 Photographic Skills required for the WSOP Poker Event
  • My Camera as an Extension of Myself
  • Event Photography and the Exposure Triangle
  • Event Photography Lens Choice. My Go to Lenses at the WSOP

Las Vegas Corporate Photography: The World Series of Poker Part 2

A case study for a Las Vegas Event Photography for me was covering the World Series of Poker for Bodog Poker between 2007-2012. During the period, The World Series of Poker was huge. Drawing more than 72,966 contestants in 2010, the WSOP poker became a major draw for Harrah’s Casinos and Las Vegas. WSOP had been around since the early 1970s but when Harrah’s acquired the rights to the WSOP by purchasing Binion’s Horseshoe in downtown Las Vegas in 2004, they quickly marketed and expanded the tournament into a worldwide phenomenon covered by ESPN and most major news and entertainment outlets. As a Las Vegas Corporate Photographer, this massive corporate event quickly became one of my favorite events to photograph every year.

         The WSOP encompassed all the most exciting aspects of being an event photographer, while also challenging all the skills and best practices needed to be a successful, professional event photographer in Las Vegas. I’ve broken this post into three separate parts and will talk about what it took professionally, skill-wise, and equipment-wise in order to provide my clients with the best service & imagery possible.

Looking down a row of poker tables filled with players during the event photography World Series of Poker

Part 2 Photographic Skills required for the WSOP Poker Event

In my last post, I spoke about the professional aspects required of me in order to successfully provide my client, Bodog, with the valuable, timely and impactful photographs they needed to properly propel their brand at the World Series of Poker in Las Vegas

As promised, in part 2 of my WSOP case study, I will focus on the particular photographic skills, both technical as well as atheistic needed to complete the 5-day long shoot successfully.

Event Photography and Female poker star, Evelyn Ng, contemplating her options at a poker table during the World Series of Poker in Las Vegas

My Camera as an Extension of Myself

Event Photography is both a science and an art and some might add a third component that I am going to call philosophical. Let’s start with the technical aspects and skills I used during the shoot as I think this is the easiest to explain and quantify.

An obvious skill to start with is understanding your camera and gear. The WSOP of poker, like many sporting events, is a very fast-paced series of events, press conferences, red carpet events, celebrity sightings, product shots, and journalism. It’s event photography, commercial photography, sports photography and portrait photography all rolled into one massive shoot.

I might go from shooting players at endless rows of tables in harsh, tungsten and fluorescent light, to shooting an environmental cover shot of a famous player for an online article with no setup time, to a red-carpet grip and grin to quick headshots all before lunch.

Event Photography and Holly Madison and Phil Hellmuth on stage speaking to players and fans at the World Series of Poker in Las Vegas

Knowing and being intimately comfortable with my camera, lens, and flash units, what they are capable of, and what they aren’t is critical to getting EVERY shot I was asked to get.

This is not the time to try out a new camera or an upgraded flash unit. Without humble bragging, I can honestly say that I am so comfortable with my Canon 5d Mark III and Canon 1D Mark IV, that I never have to think about what my hands are doing. I can simply and quickly assess the light, and automatically adjust camera setting, menu settings, flash comps without lifting my eye from the viewfinder.

Being able to operate my equipment without thinking is a crucial skillset when you are working on large, multi-faceted events such as the World Series of Poker. I’ll be honest, it’s a huge confidence boost to be able to operate at this level of efficiency and mastery with my camera equipment. It’s the main reason I am reluctant to purchase newer gear unless the upgrade will absolutely increase the quality of my images.

How skilled and competent you are with your equipment should be directly correlated with the size and complexity of an event you as an event photographer are comfortable accepting. Finding the balance of photographic skill level with the complexity of the event will ensure quality images and excellent service and professionalism that your client expects.

But most importantly, with complete mastery, understanding, and confidence in my ability to use my equipment, I am able to focus on the most important aspects of my photography and that is the creativity and personal vision that brings out the best in my subject and separates my work from all others.

Individual, On Location portraits of Tatjana Pasalic and Jay Tan at the World Series of Poker in Las Vegas

Event Photography and the Exposure Triangle

Knowledge of the how-to of the exposure triangle is a must-have for professional event photographers but the why is an important first step. Understanding why the exposure triangle is important will guide your approach to event photography and help develop a good working knowledge of your camera and lens. I will discuss lens usage later but let’s link understanding of exposure to the skill with a camera first.

Modern cameras have done an excellent job of calculating and controlling camera settings for exposure for a long time now. The Program and Auto settings are quite capable of handling many photographic situations. In fact, I will often use aperture priority mode, particularly when outdoors and in available light, situations.  Shooting fast-paced events or when light levels are subject to frequent changes such as the sun ducking in and out of the clouds are also good times for me to switch to auto modes.

I will also use aperture priority to get a base exposure when I am starting out or unfamiliar with a particular lighting level or quality. This works particularly well when moving from an indoor setting to an outdoor one and I don’t have time to properly evaluate the scene. If the action is happening as I arrive, I will quickly turn to either mode until I can take stock of the situation and make fine adjustments in manual mode.

Panel of three celebrities, including Don Cheadle, speaking to a crowd of media during the World Series of Poker in Las Vegas

However, I ultimately prefer to in manual mode and would estimate that I use this mode in about 80% of my events. Generally speaking, once I have determined the correct exposure and color temp, the lighting tends to remain consistent I only occasionally apply adjustments. This applies to available light, low light conditions, and flash as well.

I am neither a purist or an auto snob and whatever works is all that matters to me. I find the manual exposure mode to be easiest and the most consistent and I respond as needed to adjust for changes. There are other methods that work just as well, providing the photographers has a good understanding of the exposure triangle and how it affects camera settings and capabilities.

No mode is a substitute for understanding the exposure triangle and how it relates to camera settings. Despite popular opinion, digital images are not all-forgiving. In fact, proper exposure is more important now than ever. Granted, new sensors are much more forgiving than they were a few years ago however, there are two facts I adhere to when getting the exposure right in camera.

Poker legends Doyle Brunson and Daniel Negreanu seated at poker tables during the World Series of Poker in Las Vegas

The first, improper exposure can lead to noise in the blacks or a complete loss of detail in the whites. Even in raw, clipping that occurs in the shadows or highlights is most likely not recoverable and leads to serious degradation of the quality of the images. Understanding exposure, your camera’s limitations, and how to adjust your settings quickly to changing conditions is critical to high-quality photographs.

Second, is a time issue. In fast-paced events such as the World Series of Poker, I am tasked with providing images on an hourly basis for social media, press releases, an hourly blog, and a daily publication. Many times, I am sending images from one event while shooting or waiting to shoot another. There is no time to process raw images, so I shoot both raw & jpeg on dual cards and provide jpegs straight out of the camera.

Players sitting at the ESPN sponsored main table at the World Series of Poker in Las Vegas

Needless to say, the exposures have to be correct, straight out of the camera which requires I understand how my camera interprets color temperature, highlights and shadows, and overall exposure. I also need to understand how ISO, shutter speed, and f-stop work together to get the best exposure, focus, depth of field and avoid camera shake and subject movement.

So, the question is, why understand the exposure triangle? Because with the understanding of why, I can practice and learn proper exposure, how it affects composition and image capture, and use best practices to ensure the images I am capturing are exciting, relevant and creative. I will address the how-to of the exposure triangle in a different post.

For more information about raw vs jpeg check out this video

Candid Portraits of Ray Romano and Brad Garrett sitting at poker tables during the World Series of Poker

Event Photography Lens Choice. My Go to Lenses at the WSOP

I am not sure if knowing how to use a lens is a skill or knowledge, but I am going to briefly talk about it anyways. This post has gone on longer than expected so I am going to wrap up after this and create a separate post about lighting at the WSOP as it will probably prove to be a whole article on its own.

I am a zoom user, but this is not a zooms vs primes article. For me personally, zooms just fit the way I see through a camera lens. Top primes are definitely sharper, but when shooting people and events, I have found zooms to be more than adequate. Of course, I am specifically referring to the holy trinity of zooms, The 16-35, 24 -70, and the 70-200.

These three zooms, particularly the newer versions are extremely sharp, fast at 2.8, and offer incredible image quality. A fourth lens that has found its way into my bag, the 24-105 is a great all-around lens and though not quite as sharp, it is plenty sharp enough for people and events.

One of the large poker rooms with hundreds of tables and thousands of players at the World Series of Poker

These lenses have several qualities in common. They are all high quality, professional-level lenses that respond and perform flawlessly in most situations. Their build quality is exceptional so they can handle the rigors and workload of a busy professional event photographer. They are all fast lenses. At 2.8, they are capable of low light work, giving me the flexibility, I needed at the WSOP.

So why zoom lenses? The main reason is flexibility. Being able to frame in-camera saves me time in post. The extended ranges let me compose as I go, particularly in cases where my movement is restricted. I can also quickly zoom in or out and create multiple crops and compositions from the same subject matter quickly and without changing positions if necessary.

Using a two-camera setup, instead of switching lenses, I switch cameras and I feel this is a bit faster at least for me. I generally have the 70-200 attached to my 1D Mark IV and a standard or wide zoom attached to my full-frame 5D Mark III. This gives me access to a full range of focal lengths. For example, from a position inside the ropes at the WSOP, I can capture a wide shot of the hundreds of tables full of poker players to a close up of a star poker player or celebrity poker player with a quick switch to my telephoto zoom.

Candid portrait of women poker players Tatjana Pasalic and Jay Tan at the World Series of Poker in Las Vegas

There is a skill to being able to instinctively know which lens is will capture the mood of a shot best and be able to quickly switch or even go back and forth as needed. For the best photographers, it becomes an unconscious skill that allows their vision to be realized unimpeded by the technical. It also means a higher success rate in capturing critical moments, relying much less on luck, and much more on skill.

There is far too much information to share about the importance of professional lenses and the skill to use them properly so I will wrap this post up with one final thought. Whether it is venerable DSLR or the newer Mirrorless Cameras, (which is a whole other discussion) the ability to use fast, interchangeable, flexible zooms are paramount to capturing high-quality images.

Point & shoots, camera phones, and cheaper lenses just can’t compete with professional glass and it inevitably shows in the quality of the images posted on the blogs and publications during the WSOP. I worked shoulder to shoulder with many social media specialists and marketing people during the event and while I give them the space and respect they needed, they were taking nothing more than grain, discolored snapshots.

In the end, professional quality does matter and while the camera is important, the quality of the lens and the skill of its user can make all the difference when it comes to high-quality imagery. Much of my success and ultimately, Bodog’s confidence in me came down to my ability and skill with high-quality glass.

Female Poker players Amanda Musumeci and Tatjana Pasalic displaying intense and playful expressions at poker tables

Well, that’s it for now, look for my next post soon and please take a look at some of my work including the World Series of Poker here

May 5, 2020
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by John Morris

Las Vegas Corporate Photography: The World Series of Poker

Las Vegas Corporate Photography World Series Of Poker

In a perfect case study for understanding Las Vegas Corporate Photography, I was contracted to cover the World Series of Poker for Bodog Poker between the years of 2007 to 2012. During this period, The World Series of Poker was huge. Drawing more that 72,966 contestants in 2010, the WSOP poker became a major draw for Harrah’s Casinos and Las Vegas. The tournament has been around since the early 70’s but when Harrah’s acquired the rights to the WSOP in 2004, they quickly marketed and expanded the tournament into a worldwide phenomenon. As a Las Vegas corporate photographer, this massive corporate event quickly became one of my favorite events to photograph and Bodog Poker a wonderful client to work with.

            The WSOP encompassed all the most exciting aspects of being an event photographer, while also challenging professional skills and best practices needed to be a successful, professional event photographer in Las Vegas. I’ve broken this article up into multiple posts and will talk about what it took professionally, photographic skill wise, and what equipment was needed in order to provide my clients with the best service & imagery possible.

Table of Contents

  • Part 1:  Professionalism: The Key Ingredient in Las Vegas Corporate Photography
  • Professionalism: Making Things Easy for Your Client
  • Why a Professional Website Helps Your Client
  • It’s a Photographers Job to Understand What an Event Professional Needs
  • Be Honest with Your Clients Expectations
  • Answer Your Phone & Emails
  • Offer to Help When Where You Can
  • Flexibility Is A Critical Professional Skill
  • Las Vegas Corporate Photography Is All About Flexibility
  • Make it Easy for Event Professionals to Hire You Again

Part 1:  Professionalism: The Key Ingredient in Las Vegas Corporate Photography

Full Conference Center Day One of the World Series of Poker

Professionalism: Making Things Easy for Your Client

            In my opinion, professionalism is about making things easy for your client. I am going to demonstrate how that might work by sharing how my work with the World Series of Poker and Bodog started and progressed over the years I shot the event. Bodog was and is an online poker company based in the UK and who had a large presence in the poker scene from 2005 through 2011 despite constant changes in the law concerning online gambling. They eventually could not continue to legally operate in the United States but are still alive and well in the UK.

Female Poker Player for Bodog at World Series of Poker Las Vegas

Why a Professional Website Helps Your Client

            Bodog was able to find me from my well designed, page one ranked website for Las Vegas event photographer. (I hired a professional web designer; no way am I talented enough to do that on my own). Bodog’s marketing dept requested information through my contact page stating they liked the images on my website and were looking for a photographer with my skills and style. Having an easy to navigate, well placed professional website makes it easy for clients to find and contact you. An accurate and well-designed portfolio shows them what you can do and if your style and ability is a good fit for their needs.

It’s a Photographers Job to Understand What an Event Professional Needs

            With an easy to use contact page, they were able to reach out to me with a simple request for availability and pricing. But a good website only goes so far if you don’t have a professional and timely response system in place. Responding to emails and/or phone calls in a timely manner is the next step. Carefully reading and listening to what your potential client’s needs is crucial. Your ability to reliably communicate, answer questions, and provide pertinent information creates trust. Event professionals are very busy. Quick, timely responses show that you respect and value their time.

Main ESPN Table at the World Series of Poker Event at the Rio Hotel & Casino

Be Honest with Your Clients Expectations

            With a quick response and timely information provided, Bodog quickly set up a phone call and we discussed a timeline in more detail. I was able to personally address their needs and provide advice as to what was possible and what was needed. As photographers we are also event professionals and we can provide a unique understanding and perspective in our own area of expertise. We have an obligation to set expectations on what can or can’t be done.  Photographers are, by necessity, problem solvers but it is important to know the limitations of time, physics, and your own ability. Never tell a client you can do something unless you see a clear path to getting it done.

Answer Your Phone & Emails

            I am going to side step just a bit and comment on the importance of answering your phone/emails. I hear from my clients and potential client on a regular basis thanking me for responding so quickly, answering the phone, providing estimates in a timely manner. To be honest, many times, the simple fact that I even answer my emails and phone calls has gotten me the job. This does not mean that I drop what I am doing and immediately respond to every email as it arrives. I make it a habit to respond to my emails twice a day providing well written, professional emails and responses to any inquiry and questions from past and current clients.

Corporate Photographer Las Vegas

Offer to Help When Where You Can

            In my communications with Bodog, they explained and asked me to secure press credentials so that I would be able to access all areas and activities during the WSOP’s week-long event in Las Vegas. Generally, this is something your client will handle for you but in special cases or if the client is small with a limited budget, they may ask for your help. In Bodog’s case it was not a budget issue, but it made sense for me to attempt to secure my own credentials. There were a few complications, but we stayed in contact with each other and after several attempts I was able to secure all access passes for myself and a second shooter. My client was appreciative of my efforts and I was able to make things a bit easier for them.

Flexibility Is A Critical Professional Skill

            Flexibility is another important service you can provide as a professional event photographer in Las Vegas. The above example was just one way I could help my client and nurture a sense of trust in my ability to get the job done. Many times, the person that hires you will have multiple responsibilities and commitments to others. More often than not, they will have their own clients they are answering to and they will be relying on you to help them keep those customers happy. Your ability to be understanding and flexible to the needs of your client as well as others, is a critical professional skill.   

Las Vegas Corporate Photography

Las Vegas Corporate Photography Is All About Flexibility

            In our phone calls and subsequent emails and communications, a timeline of events and daily activities begin to emerge. I provided estimates and quotes based our initial conversations but as with most events, they constantly changed. As a corporate event photographer, you must be flexible and be prepared to adjust your schedule, sometimes at a moment’s notice in order to accommodate your clients’ needs.  This doesn’t mean that you are at the total whim of a badly organized or unrealistically demanding client. It just means that change is a part of the business and as a professional event photographer, you need to account for adjustments in your planning and pricing to be able to meet your clients’ needs while protecting your own.

Make it Easy for Event Professionals to Hire You Again

            A final note on making a client’s job as easy as possible when it comes to hiring and working with you as a professional corporate event photographer. Stay in touch with them throughout the year. Keep the lines of communication open. Bodog was and is a dynamic company and personal were changing roles constantly as the company grew and expanded. By reaching out to several members of the team several months before the next WSOP event, I was able to help by make it easier for them to hire and work with me again. Taking the initiative and not waiting for them to contact me made their jobs easier because I already understood the needs and was a trusted professional with proven skills and reliability they could count on.

You can take a look at my professional attire tips here:Event Photographer Las Vegas; Attire and Professionalism

April 7, 2020
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by John Morris

What is Las Vegas Event Photography: A primer for Photographers

Vegas Event Photographer

What is Vegas Event Photography: A Primer for Photographers  

Vegas event photography can encompass every form of photography imaginable. As a Las Vegas event photographer for over 15 years, I cringe at the cliché, however, I really have seen and shot it all. In any given large Vegas event, I have found myself shooting a number of photographic disciplines requiring a variety of skills, techniques, and equipment:

  • Commercial photography
    • Editorial photography
    • Sports photography
    • Food photography
    • Concert photography
    • Corporate headshots
    • Journalistic photography
    • I’m sure there is more…

Sound fun and challenging? Well, it is and the fact that every event is unique with a variety of challenges has kept this photographer on his toes and learning new things at every Vegas event I shoot. But what exactly is Vegas event photography or for that matter event photography anywhere else. I’m about to give you a quick primer on event photography.

Of course, it helps, if you interested in becoming an event photographer, to be where the events are. Vegas, Orlando, San Francisco, New York, (maybe Seattle?) These are the biggies however events of all sizes can be found in your local as well. Honestly, you may have to combine it, as many do, with Weddings or another discipline, but events can be very lucrative, fun and challenging for a new or experienced photographer. From grand openings to headshots, job fairs, fun runs and charity events, there are all kinds of “events” that may need your skills and are willing to pay you for them.

Night Club Cocktail Hour Event In Las Vegas

Event Photography. Who Does the Hiring?

In event photography, we see a world of people and companies looking for quality photography to showcase their products, people and events. Whether for internal or external use, trades magazines, advertising, website or social media, professional event photography is in demand more than ever and events are a great way to tap into some of that need. So exactly who might hire you and be working with you during Vegas event photography assignments? Here is just a small list:

  • Event planners
  • Marketing companies
  • Social Media Groups
  • Trade Publications and National Media
  • Corporate Public Relations teams
  • Event Production Companies
  • Booth & Exhibit Providers
  • Celebrities/Sports Personalities
  • Event Venues & Convention Centers
  • Individual Companies and Businesses presenting at Trade Shows
  • You get the idea….

Skill Levels: Let’s Break It Down.

Honestly, since no two Las Vegas event photography jobs are alike, there is not a definitive guideline that I could create that would totally prepare you for any kind or size event.  What I will attempt to do though is create a summary of my experience with many different Las Vegas events I have photographed and try to provide a general view and some tips that will hopefully somewhat prepare you for and give you some guidance as to what kinds of jobs you should take and which ones you might consider passing on based on your experience and skills.

Let’s start by creating three loosely defined categories that take into account several factors.

Some of the larger, multi-day Las Vegas events I have shot for have required me to hire and manage 2-3 additional photographers as well as a photo editor. This experience has helped me decide which level an event might be grouped into by evaluating what experience level of second shooter I would assign that particular event to if I were unable to shoot it myself. I look at experience, lighting skills, energy level, professionalism, personality, and equipment required. Event Photography: The Important Stuff

Small Business Grand Opening Event

Basic. Generally, 1-2-hour events. Simple, consistent lighting conditions, minimal equipment requirements, adequate timing, consistent flow of events. Dedications and Grand Openings, Golf Tournaments, Small Grad Ceremonies, Award ceremonies, Trade show Booths, Cocktail hours, Red Carpet events.

Jason Alexander at the WSOP Las Vegas

Intermediate. Generally, 4 or more hours, multi-day 1 to 1-1/2 days. Timelines/deadlines may require additional gear and backups, off-camera lighting, changing lighting and circumstances, data dumps, social media uploads. Seminars, Corporate Outings, Bar Mitzvahs/Social events, Small Political events, Golf Tournaments with deliverables, Small Trades shows/job fairs, small concerts, simple headshots

Vegas Event Photography

Advanced. Multi-Day, 10-12-hour days. Changing lighting, Challenging/Difficult lighting, Advanced/redundant gear, Tight deadlines, must-have shots, multi-event, physical toll, multiple personalities demanding expectations. High level of Professionalism. Large trade shows/Corporate events/Conventions, anything dealing directly with Celebrities, Large Political events, Onsite printing, High volume headshots, High volume graduations, Sporting events, Green Screen with printing. Event Photography: And Now for the Details

Here are some general thoughts on the three Las Vegas Event categories. First, there can be a lot fluidity between the different difficulty levels depending on each individual event. Surprises and unexpected situations can make any event more difficult or make good organization and a top-notch team can make advanced events fun and rewarding. Lighting conditions can change at any time and Murphy’s law applies to event photography even more so than to other things.

While I can generally provide new photographers with instructions and settings for basic Las Vegas events, Intermediate and Advanced events demand the event photographer be knowledgeable and proficient with their gear and adaptable to changing light. Event photography tends to move at a pretty fast pace, and no one waits for the event photographer to be ready. Advanced events require expertise, flexibility, and confident problem-solving skills. A Las Vegas event photographer who doesn’t understand off-camera flash or have a good working knowledge of the abilities and liabilities of on-camera flash will struggle with Intermediate and Advanced Vegas events and will not provide consistent, quality results.

A third set of intangibles is attitude, professionalism and physical conditioning. I made the mistake of hiring a videographer to assist me with a shoot and assumed he would know what to wear. It was early on in my career and I do take responsibility for assuming he would wear appropriate attire to an awards banquet and ceremony. He did not and it made us look unprofessional and affected how we were perceived and received by the organizers and staff. (Black is always the right answer by the way for these types of events.) Being friendly, professional and working with a sense of urgency without rushing are all things we need to be aware of as Vegas event photographers. Las Vegas event photographers need to be in shape. Event photographer, like landscape photography, is a hell of a lot of walking. Good shoes are a must.

Gear is obviously important for Vegas event photographers and their ability to be able to tackle the more advanced events. Headshot lighting setups, onsite printing capabilities, green screen, volume headshots or graduation ceremonies all require special or large amounts of equipment and no how and are definitely considerations when determining if a job is in your skill level. You should never take a job you are unprepared for or if you are not comfortable with the equipment requirements.

Back up equipment is essential as well and if you are limited in budget to one pro camera, flash or lens, this can and should limit the size and difficulty level of the job you sign up for. Equipment will fail, lenses will get dropped and batteries die quickly, and it is never acceptable not to have a working backup and redundancy in your equipment. Particularly in large scale events and productions. If you can, rent or borrow backup gear but make sure you have it just in case you need it. I can’t imagine anything more horrifying than being halfway through 250 graduating seniors as they receive their diplomas and having your flash die or worst and not being to shoot the remainder of the ceremony. They won’t stop for you and will have ruined any trust the client has in you not to mention trying to explain why you didn’t get the required shots.

So I don’t want to end on a bad note. Vegas event photography is fun, exciting, lucrative and challenging and I hope you can take some of the information I have provided and use it to your advantage when deciding if event photography is right for you based on your comfort and skill level. Until next time…

You can view another helpful post about Las Vegas Events here:http://www.johnmorrisevents.com/las-vegas-corporate-photography/

March 17, 2020
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by John Morris

Event Photographer Las Vegas and Why I Love Being One!

Las Vegas Event Photographer

Five Things I Love About Being an Event Photographer Las Vegas

I am a Las Vegas Event Photographer and now a San Diego Event Photographer as well.  When people ask me what I photograph, and I say events, it’s usually followed by a puzzled look. I get it. Corporate event photography can encompass so many things depending and where you have set up your business. For me, being an event photographer in Las Vegas and now being San Diego based, event photography is trade shows and conventions, corporate outings and concerts. Sometimes it’s a sporting event or an awards ceremony. Occasionally, grand openings sneak their way into my schedule, as well as headshots, some architecture and even fashion and product work. On the surface, event photography may not seem all that exciting, or glamorous, but in my 15 years of experience, as a Corporate event photographer, I can emphatically say that that perception is simply not true! Well, to be honest, glamorous is going a bit far, but fun, exciting, challenging, interesting, and creative are all descriptions I can vouch for. Don’t get me wrong, event work is not easy. Long hours, limited breaks, non-stop shooting, constant challenges and unexpected changes, equipment failure, frantic deadlines, lofty expectations and sometimes boring sessions (Yes, I said it. Sometimes boring) means this line of work is not for the faint of heart. I think as event photographers we probably face the same struggles as in any other form of photography but what some may not realize is that event work is also creative and interesting and pushes the limits of creative photographers as well as technical ones.  So here, in no particular order and without further ado, are five things I love about Las Vegas event photography and San Diego corporate event photography!

Awards Dinner at a Las Vegas Corporate Event

Variety. Event photography is Never the Same Thing Twice.

Commercial Photography, Sports Photography, Product Photography, Professional Headshots, Magazine Covers, Newsletters and Dailies, Concerts, Celebrities as well as Grip and Grins, Red Carpet Events, Breakout Sessions and Cocktail Hours I have shot it all. Some are obviously more exciting than others, but all have their unique and specific challenges as well as creative opportunities and perks. As a Las Vegas Event Photographer, and a San Diego Event Photographer, I am exposed to many different types of requests, requirements, specifications, and creative directions, and I feel comfortable in almost any photographic situation. Is every job different? No. In fact, many jobs are very much the same, same setup, same venue, same format, same final outcome but there is always something unique about a shoot, a client, a final output or usage that gives each job its own creative or technical footprint. Having the experience of shooting similar events, means I can focus more on creative photography and less on the actual execution. This is critical because I can provide consistent, high-level results which are an important byproduct of repetition and experience. Back to variety, which is one of the most important reasons I love event photography, there is enough variety, twists, exceptions, and variables, that each job has to be approached as a separate entity that keeps them all fun, exciting and challenging.

Night Club Cocktail Hour Event In Las Vegas

Event Photography is Technically Challenging.

If you take pride in exceptional work and want to offer professional quality, event photography can be extremely challenging for a photographer from a technical standpoint. Let’s take just one aspect of event photography and expand on that. Photography is all about light and event photography is no different. There are challenging lighting conditions in almost every job I shoot and being able to problem-solve and overcome those challenges is the core of the job. From low light to no light, bright lights, stage lights, colored lights, and balanced light. In any given event photography, I may encounter one, many or all the above lighting environments in a single 4-hour shoot. Trust me, even with a formal education in commercial and studio lighting, this fact keeps me on my toes. It also means I get to stretch my lighting chops and technical skills to the limit, and I find this aspect both rewarding and exciting. Don’t get me wrong, walking into a giant hall with poor lighting, (or no lighting) is not for the timid and while I always hope for beautiful lighting, and do what I can pre-shoot to insure success, at the end of the day, there is an immense amount of satisfaction in solving a tough lighting problem on the fly, resulting in professionally produced work that I can be proud of and that makes my customers happy.

Medical Supply Booth at Las Vegas Convention Center Trade show

Event Photography Will Teach You About a Lot of Different Things.  

I have learned an immense amount of information about companies and industries that I never even knew existed. It’s almost like insider trading, but that’s illegal so let’s just say you can learn some interesting and valuable information working conventions and business summits. Besides what Las Vegas event photography as taught me about photography, I have received a lifetime of informative seminars, breakout sessions and marketing advice as well as political insight, motivational inspirations, and business strategies. It is important to point out that I am usually actively shooting so sometimes the things I learn are in bits and pieces, but by the process of informative osmosis (is that a thing?) it does add up over time. Working some of the bigger shows and conventions I get to see, touch, feel and be awed by some of the latest intel and gadgets in the technology and information spaces. Demonstrations, informative displays, compelling storytelling, presentations, speeches, and motivational lessons have all seeped into my consciousness while I watch, listen, predict and shoot. I have even made some political choices after listening to and spending time with politicians and behind the scene power brokers, whether as an active participant, or a fly on the wall observer and photojournalist. Because of my time as a Las Vegas event photography, I am guilty of occasionally spouting some random piece of knowledge or info in response to a question from friends or family. Inevitably they will ask where I got that from? My response? I must have heard it somewhere, I guess.

Marie Osmond back stage before her Las Vegas Show

Event Photography Has Introduced Me to Many Really Interesting People.

I have met some really interesting people as a San Diego Event Photographer and a Las Vegas Corporate Photographer. I’m not going to actually do any name dropping, (though I want to)but I did sit on the edge of a bed in one of Caesar’s Palaces top floor luxury suites once, with a Superbowl and Hall of Fame quarterback watching the 6th game of the NBA finals for the entirety of the second half while waiting for our clients and their guests to show up for a grip and grins session. (just sayin’) I also spent a whole day photographing one of my childhood crushes for an Australian health magazine in various locations and was taken by this person’s humor, honesty, and grace. Ex-Presidents, congressman, Mayors, CEOs of major corporations, countless celebrities, hardworking planners, production people, crew and support staff. People from around the world, nationalities, locals and other vendors. I have made many friends and have close working relationships with so many hard-working people in the event business that many of them feel like family to me. An important and often overlooked aspect of Las Vegas event photography is your ability to work with all kinds of professions and personalities and under extreme pressure. Understanding what it means to be a professional and being willing to check your ego at the door are critical to your success. This also means knowing when to take control of your shoot, setting realistic expectations, and ensuring you meet deadlines, respect your subjects time and getting the shot when it is all said and done. Okay, I’m going to drop just one name, Jay Leno! One of the nicest, warmest celebrities I have ever worked with. He just gets it!

Awards Ceremony during a Corporate Event in Las Vegas

Event Photography is Fast Paced and Exciting.

There is never a boring event. They are fast-paced, stressful, organized down to the minute masterpieces when done right. These kinds of events are fun, exciting, exhilarating, exhausting and many times seem like more fun than work when combined with reasons 1-4 for why I love event photography. For the events that are less than masterpieces? Challenging, stressful, taxing, but even they come with an incredible sense of accomplishment when everything somehow comes together despite the hiccups. I mentioned that events are stressful. However, there times when they are not. Everything is flowing, I am feeling confident and comfortable with my gear, nothing breaks, everything works, the client is professional and courteous, the guests are polite and attentive, and everyone is experienced and knows how to do their job. My job as a Las Vegas event photographer, even under these perfect conditions may not be as stressful, but there is still an exciting tension, a buzz in the crowd, and eagerness in the client as they sense good things are happening and I can really focus on the creative and artistic. Yes, events can be very creative! As much as I like the challenging and technically unexpected, I also appreciate and enjoy the smoothness and wizardry of organizational perfection. Always fast-paced, I find event photography exciting and rewarding in all its manifestations.

Jay Leno during a comedy routine in Las Vegas

So, there you have it. Five things I love about San Diego event photography and Las Vegas event photography. I hope I was able to communicate some of the reasons I have chosen Corporate event photography and maybe shared some aspects of event photography that you might not have been aware of.  Until next time……

February 20, 2020
Uncategorized
0 comments
by John Morris

Professional Booth Photography during OFC 2018 at the San Diego Convention Center

San Diego Corporate Event and Booth Photography

Professional Booth and Exhibit Photography at the San Diego Convention Center

As a San Diego corporate event photographer who has shot events in Las Vegas for the last fifteen years, I was extremely excited to be photographing my first event at the San Diego Convention Center. I was hired to shoot booth photos for a long-time client who designs, builds and maintains some fabulous booths for companies looking to make a lasting impression at trade shows and events.

Professional Booth Photography at the San Diego Convention Center

This was my first event at the San Diego Convention Center, and I wanted to make sure that everything went smoothly. I was scheduled to arrive at 7 am to shoot 6 booths that my client had built, and I aimed to get all six done by 9 am. The show opened at 10, so I gave myself a little extra time to factor in for any unexpected obstacles.

Lightron at the San Diego Convention Center

If you live in or near any of the big cities in California, you will know that parking is always a challenge and being familiar with the parking situation from my years shooting Las Vegas events, I knew that available parking would be my first obstacle. While an obvious problem, it is an important consideration and if not planned for, can make it challenging to arrive on time and get the job done. Knowing ahead of time is critical. I researched and learned that I had two options; Park in the underground convention parking for $20 or park out back by the bay for $15. Not only was the bay option cheaper, but it was also adjacent to the vendor entry and the hall where the Optical Networking & Communication Conference was taking place. A little research saved me time and money!

Different angle shot by a Professional Booth and Exhibit Photography at the San Diego Convention Center

When shooting booths, I try to use a few techniques that I learned while assisting a very good architectural photographer early in my career. Sturdy tripod, bubble level, and cable release are all important tools. Some new techniques that I use now are in-camera HDR and Lightroom’s perspective adjustment function. These options give me more flexibility in post to ensure I capture the booths as accurately as possible. I also use a circular polarizer on a 17-40 to control glare and help control the output from the LCD screens and monitors to help balance the light.

Booth photographed before the opening of the Exhibit hall by Professional Booth and Exhibit Photographer at the San Diego Convention Center

On-site, a little housekeeping ensures that my client’s booths will look their best and limits the amount of post I need to do to get the images my client expects. Watching for distracting backgrounds, overhead lights, trashcans, cleaning crews, and attendees is important. Organizing chairs, brochures and making sure monitors and screens are turned on and showing images that add to the overall look are small details that create professional images. It’s the little things that make big differences.

Booth photographed before the opening of the Exhibit hall by Professional Booth and Exhibit Photographer at the San Diego Convention Center

 

In post-processing, making sure the colors are correct, the lines are straight and the booth logos and features are visible are critical to a great image. Though I use HDR in-camera, I am very careful not to overdo it. I try to keep the images looking as authentic as possible to enhance the product while respecting tonal range and shadows.

Booth photographed before the opening of the Exhibit hall by Professional Booth and Exhibit Photographer at the San Diego Convention Center

So there you have it. My first booth shoot in San Diego for a long-time client. I look forward to posting more gigs and more advice as I begin to gain some traction in San Diego as an event and corporate event photographer. Till next time…..

Booth photographed before the opening of the Exhibit hall at the San Diego Convention Center

 

You can take a peek at more of my Booth and Trade Show Photography herehttp://www.johnmorrisevents.com/portfolio/trade-show/

March 29, 2018
Corporate Event Photography·Photography
0 comments
by John Morris

San Diego Event Photographer Grand Opening!

San Diego Event Photography Grand Opening Event

San Diego Event photography Early morning signage during a Professional event photographed at a grocery store grand opening in San Diego

I finally feel like a San Diego Event Photographer. Having photographed several events in San Diego over the last few months and photographed many events in Las Vegas since relocating my Event Photography Business to San Diego, this is the first event I professionally photographed for a new client who contacted me on my new website. That is a very exciting development for me and I hope to eventually do most of my event photography here in San Diego. I love Las Vegas and spent the last 15 years shooting thousands of events there, but the drive and flight to and from is starting to get long and a bit predictable.  I look forward to spending as much time in San Diego as possible.

Long lines of customers in front during a professional event photographed at a grocery store grand opening in San Diego

I have worked hard to get my website towards the top of the page rankings for San Diego Event photographer and I am excited to say that we are now on the top of page 2 and inching forward. We can discuss how I did it in a later blog post because, in this post, I want to share my first new San Diego client.

Young Customer having fun during a professional event photographed at a grocery store grand opening in San Diego

My client is a branding company that helps new businesses with branding and marketing projects and they contacted me through my San Diego Event photographer website and requested a quote. I provided an estimate based on the information provided and sent it out to them as soon as possible. In may seem obvious, but I feel it is important to respond as quickly as possible to estimate requests. Clients are busy and being able to get estimates quickly is beneficial for both you and them. I am always surprised to hear from my clients about how slow some photographers are with requests and quotes. Good communication and timely responses are key to getting and keeping good clients. After a few days and a few questions, they made it official and I reserved their event’s date and time.

Colorful vegetable and fruit displays during a professional event photographed at a grocery store grand opening in San Diego

The location for the store’s grand opening was in San Ysidro, which is a small “suburb” south of San Diego and adjacent to the border with Tijuana, Mexico. Not being familiar with the area, I decided to take a quick trip down to the store’s location the day before to take a look and scout a bit. Scouting is something I do frequently when shooting in a new location. Since the shoot was to begin early the next morning, I didn’t want to show up and have to deal with any surprises. Scouting is an important part of my job and while I don’t charge extra I sometimes build it into the cost in my estimate if it is a unique location or further away from my studio. In this case, the location was only 15 minutes away and I wanted to test traffic, parking, (parking is a major consideration in San Diego) and the general layout of the store. I also wanted to see how the morning light might affect the shoot positively or negatively.

Professional event photographs of a grocery store grand opening in San Diego including images of the produce section.

Colorful melon display during a professional event photographed at a grocery store grand opening in San Diego

I would be working from a shot list and was provided a timeline of events.  The client did a great job of spelling out what they needed and what their expectations were. We had an informational phone call a few days before the grand opening to discuss any details and one of the requests was for me to capture as much of the new store set up as possible before the doors were to open at 9 am. 

Colorful Craft Beer Display during a Professional event photographs of a grocery store grand opening in San Diego

I was scheduled to arrive at 8 am which would give me an hour to capture the pristine interior and various departments. Being an anxious person, I decided to arrive earlier than required so that I could shoot at my own pace, at least in the beginning. The parking lot was already full when I arrived and there was a ton of activity inside the store as last-minute details were taken care of.

Wine Section during a professional event photographed at a grocery store grand opening in San Diego

I’ll mention that this was a well-organized event. My client was on hand to keep things organized and they did a great job. I ended up having plenty of time to capture the store set up beforehand and was ready and waiting for the eager rush of new customers when the doors opened.

Excited Cashiers getting last minute training during a professional event photographed at a grocery store grand opening in San Diego

The new store owners were nervous, excited and very friendly and all the participants were a pleasure to work with. The customers were very appreciative to have a grocery store opening in their neighborhood and it was a fun event for everyone

Dignitary presentation during a professional event photographed at a grocery store grand opening in San Diego

There was ample lighting inside the store with both fluorescent and large windows that provided plenty of daylight into the customer service areas. Because the daylight overpowered the fluorescents, there was no need to gel my flash so my setup was pretty basic and simple.

The moment a ribbon is cut during a professional event photographed at a grocery store grand opening in San Diego

The sun was directly behind the store’s main entrance and all the events outside, like the ribbon-cutting and presentations, were protected from the harsh light of the sun by the building and it’s overhang. I used fill flash set on auto and exposure compensation at -2.5 for most everything and kept the camera set on manual since the lighting stayed consistent.

Happy owners and family members after a ribbon cutting during a professional event photographed at a grocery store grand opening in San Diego

For this particular event, the challenge was to find interesting and pleasing angles and compositions to show the best features of the store to include plenty of branding and to capture the fun and excitement of the staff and customers.

Chamber of Commerce presentation to owners during a professional event photographed at a grocery store grand opening in San Diego

I think I was able to do that. Giving myself a little extra time in the morning and then putting myself in the right places and at the right times increased my chances for success. Being prepared and anticipating the fun and excitement of a new store opening helped me create images that captured the overall atmosphere of this grand opening and exceeded my client’s expectations.

Happy customers and baggers during a Professional event photographed during a grocery store grand opening in San Diego

Group photo of owners and donation during a professional event photographed at a grocery store grand opening in San Diego

My client was happy, I was glad to be photographing an event in San Diego, and I can now share that experience with you. I look forward to many more going forward. Until next time…

You can view more of my San Diego Event Photography here

http://www.johnmorrisevents.com/portfolio/corporate-event/

March 22, 2018
Corporate Event Photography·Photography
0 comments
by John Morris

Las Vegas Trade Show Photographer. A Simple Solution to Complicated Lighting.

Table of Contents

  • Las Vegas Trade Show Photographer Case Study: When the light is the wrong color!
      • Type:            Corporate Event, Awards Dinner
      • Location:     Rooftop above the Las Vegas Strip
      • Event Size:   Medium
      • Difficulty:     Moderate
      • Elements:     Performers, Speakers, Candids
      • Skills:            Experienced Photographer, Adaptability
      • Challenges:   Constantly Changing Light, Outdoors After Dark
      • Fun Facts:     Best Rat Pack Impersonators in Las Vegas

Las Vegas Trade Show Photographer Case Study: When the light is the wrong color!

Type:            Corporate Event, Awards Dinner

Location:     Rooftop above the Las Vegas Strip

Event Size:   Medium

Difficulty:     Moderate

Elements:     Performers, Speakers, Candids

Skills:            Experienced Photographer, Adaptability

Challenges:   Constantly Changing Light, Outdoors After Dark

Fun Facts:     Best Rat Pack Impersonators in Las Vegas

I am a Las Vegas trade show photographer with over 15 years and thousands of show under my belt. So I’m going to try to shorten some of my tips and tricks blog posts. I still want to share my experiences and insight into how I approach trade show photography, but maybe I can do so without writing a novel every time. Having said that, let’s get to it!

I want to highlight one particular Las Vegas trade show that created a unique lighting challenge and how a simple approach was able to solve the problem. First, it is important to recognize that a challenge exists and what that challenge is before you start shooting. So, arrive early, scout around, and give yourself time to check things out to identify any issues that may get in the way of you capturing the photos you are hired to get.

In this case, I was tasked with shooting in a fun, outdoor location overlooking the Vegas strip. The trade show was rooftop and across the street from Caesar’s Palace. I arrived a little early to capture the setup knowing that the available light would be mostly gone at the time I was scheduled to start. And as you can see in a few shots below, once it got dark, the details of the table setup and overall beauty shots would be lost to the night.

Have you identified any concerns from the first couple of shots that I have posted? It might not be as obvious in a still photo series, but the beautiful light under the canopy continuously changes colors. It was a fun and unique feature of the venue. In the shots provided, you can see at least four different colors from the canopy and you can get an idea of how those colors are going to look on people. While beautiful, they are not very flattering.

And therein lied the challenge for a Las Vegas trade show photographer. The stage was positioned directly under the canopy.

One of my favorite local performance groups is this particular group of guys who do an amazing job of impersonating the Rat Pack from Vegas’ golden years. Frank Sinatra, Sammy Davis and Dean Martin. Not only do they look the part, but they sing and sound like them to. Three very talented guys who are not only professional but also fun to work with too. It’s always a pleasure to work with them.

As you can see in the first behind the stage shot with the green cast from the lights, the guys are very green. Though not shown, it was the same with the magenta lighting, blue lighting, and gold lighting. Kind of obvious but just the same, very hard to color correct, even in post. Upon observing the lights before the show started, I figured that I had three options.

The first option which was not an option at all, was just to shoot it as is and hope the client didn’t notice? After all, the lighting is what it is right? Like I said, not an option because they are paying you to solve problems. That’s what we do.

The second option would be to use flash, either on or off-camera to overpower the colors of the available light and replace it with predictable flash which we can color correct for. This was something I considered and was prepared to do because not only was the Rat Pack performing, but the CEO and several company reps would also be speaking from the stage and I might not be able to employ my chosen solution with them.

So what did I do? My solution, in this case, was the path of least resistance. In the images of the guys that look most natural, I simply waited for the lights to change to this color of light and then fired away while I had the chance. The lights followed a predictive pattern and cycled through the different colors and this “natural look” just happened to be one of them. Something I had observed when I arrived to scout the area early on. The light would stay this color for about 30 seconds before changing to one of the more colorful options and because the Rat Pack’s performances tend to last at least 30 minutes, I knew I would have the time I needed to capture enough quality images to tell the story and satisfy my client.

Just to demonstrate the second option of using flash to overpower the colorful lighting, you can see in the second to last shot of Dean, that I have applied fill flash to the image while the overhead lighting was a bit on the gold side. This is similar to the lighting technique I used when the CEO spoke. His time was much shorter and I couldn’t wait for the light to cycle through or I would have missed much of his speech. Of course, I still shot like crazy when the light was “right”. While the use of flash was acceptable, obviously I much prefer the shot above without the fill flash.

As an extra bit of info, how lucky to have Caesar’s Palace lit up behind the stage as a dramatic backdrop from the front, as well as the Las Vegas High Roller in the background when I shot their silhouettes from behind the stage. A truly great location.

Using the lights also helped in shooting candids of the event as you can see in the shot of the attendees networking in a group at the cocktail table in the second to last shot.

Finally, I added a food shot. The dessert trays that the servers were staging from just happened to be next to a white wall. I simply pointed my flash slightly over my shoulder to the left and let the light bounce off it and back onto the subjects creating soft and directional light to bath the desserts in.

A simple problem, simply solved. As a Las Vegas trade show photographer, sometimes we don’t have to employ any tricks from our bag to get the best shots. Many times, simple observation and a bit of creativity will work wonders in helping us create the images that make us look like the professionals we all strive to be. Until next time…..

Take a look at some of my trade show work here

http://www.johnmorrisevents.com/portfolio/trade-show/

February 28, 2018
Uncategorized
0 comments
by John Morris

Las Vegas Event Photographer and Adapting to Changing Light

Elaborate stage presentation with three full size cars revealed to an audience of business owners at a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Table of Contents

  • Las Vegas Event Photographer Case Study: Adapting to Changing Light
      • ·         Type:            Multi-Day Corporate Event
      • ·         Location:     Las Vegas, Nevada, Mandalay Bay Event Center, Las Vegas Motor Speedway
      • ·         Event Size:   Medium
      • ·         Difficulty:   Advanced (stage, available light, night, awards,)
      • ·         Elements:     Keynotes, General Session, Night, Special Conditions, Awards Presentation
      • ·         Skills:         Experienced photographer, Challenging/Changing Lighting Conditions
      • ·         Challenges: Special Condition, Changing Light, Fast Moving Awards Presentation
      • ·         Fun Facts:    Las Vegas Motor Speedway, Fireworks

Las Vegas Event Photographer Case Study: Adapting to Changing Light

·         Type:            Multi-Day Corporate Event

·         Location:     Las Vegas, Nevada, Mandalay Bay Event Center, Las Vegas Motor Speedway

·         Event Size:   Medium

·         Difficulty:   Advanced (stage, available light, night, awards,)

·         Elements:     Keynotes, General Session, Night, Special Conditions, Awards Presentation

·         Skills:         Experienced photographer, Challenging/Changing Lighting Conditions

·         Challenges: Special Condition, Changing Light, Fast Moving Awards Presentation

·         Fun Facts:    Las Vegas Motor Speedway, Fireworks

In this case study, I will highlight the importance as a Las Vegas event photographer to be adaptable and flexible particularly when it comes to lighting. Whether it’s available light or portable light, a Las Vegas event photographer needs to have the experience and/or training to quickly assess and adapt to changing light to successfully capture larger events. This particular assignment lasted over a day and a half and posed multiple lighting challenges. The challenge of the lighting was fun, and it allowed me to provide my clients with a wide variety of unique images.

Mandalay Bay Convention Center Venue Hallways elaborately decorated for a cocktail reception for a Corporate Event in Las Vegas and San Diego..

The assignment started with me photographing an evening networking event/cocktail hour for the company’s clients. I was hired by the production company for the event to not only capture the event as it unfolded, but to also take “beauty shots” and behind the scene shots of the work the production company created for the client’s various events.

In the first two shots, the venue (Mandalay Bay) converted the hallways outside of the actual ballrooms into a casual lounge and the production company wanted to make sure to get some great images that they could use to pitch the idea to future clients. Even when not requested, it’s a good idea as a Las Vegas event photographer to get these kinds of shots so that you can share them with the production companies you are working with whether they are the ones that hired you or not. Developing relationships with production companies is one of the best ways to acquire leads and get repeat customers.

Details of an elaborate setup at the Mandalay Bay Convention Center in Las Vegas for a cocktail hour and networking session for a corporate event.

I used a tripod-mounted camera and in-camera HDR settings to ensure that I was able to keep the highlights while exposing for the shadows. I was careful not to overdo the HDR effects and keep the images looking natural and not over-processed. Color balance is important and sometimes with these images, it’s easy to leave them a bit to warm. While it would have been possible to shoot this scene handheld, I would have needed to use a high ISO and open up the aperture, limiting my depth of field.

Crowded cocktail hour and networking event during a Corporate event at the Mandalay Bay Convention Center in Las Vegas by a San Diego Based corporate event photographer

Clients like to see rooms full of engaged people. It is a good sign that their efforts have paid off in a successful event. They can later use these images to share and sell the show or event for the following year and attract new attendees. Make sure you move around and find the right angles that show the room or event at it’s fullest. People and objects in the foreground help fill space and create a busy feeling. Watch for empty chairs or vacant spaces that may not seem obvious at first but make an event seem poorly attended. Also, look for angles that show off the room and capture any branding when possible. I stood on a slightly raised platform and handheld the camera to get the shot above. The slight rise in the camera position keeps the shot looking natural and allowed me to visually show how busy the room was by extending the viewers’ vision to the end. I could have used a tripod but the advantage would have been minimal because a relatively fast shutter speed was needed to keep the moving people in focus.

Capturing images of the food being served at a Corporate Event and Networking hour at the Mandalay Bay Convention Center in Las Vegas

Cocktail hours and networking events are an important part of the job for Las Vegas event photographer and your clients will invest a lot of time and effort to ensure their attendees enjoy them. There will be many different kinds of offerings and entertainment available depending on the event, but food is usually a key component. If you’re lucky, the food will be displayed attractively and with amazing lighting but in my experience, that seldom happens. You will need to be adaptable. In the two examples I have posted, the first one is very colorful and the repetition of shapes is interesting but there is no light on the jars except for standard, overhead room light. If properly exposed for the available light, I would have had to either blow out the accent lighting behind the jars or leave the colorful ceviche in the jars dark and under-exposed. Neither option was acceptable so I chose to bounce some light from my on-camera flash towards a white display that was positioned camera left. The key was not to overpower the scene with flash, so using the flash in manual, I dialed in 1/16 power and just added a pop of light to bring out the colors in the jars while exposing for the bright lights in the background. Determining how much flash to use to keep the scene natural is a matter of experience but it is based on the overall brightness of the scene as well as the distance light from the flash is going to need to travel.

Food plated and waiting for attendees at a networking event during a corporate event at the Mandalay Bay Convention Center in Las Vegas by a San Diego based event photographer

In the image of toasted sandwiches and au jus in coffee cups, the key light was provided from the heat lamps the food was sitting under. Heat lamps are very bright, harsh, and yellow creating a narrow spotlight effect with drop off around the edges being extreme. Camera settings were drastically different from the low light room settings I had been shooting so I had to make some major adjustments to ISO and exposure setting to keep this scene from being completely blown out. I also dropped the color temp to 2800K to eliminate as much yellow as possible. To avoid the spotlight effect that this sort of set up creates, I moved in close and cropped out as much of the unlit area as possible keeping the image evenly lit. Fortunately, the coffee cups were white, making color correction relatively easy in post

Networking event attendees enjoying a cocktail hour during the first night of a corporate event held at the Mandalay Bay Convention Center in Las Vegas

The lighting setup I use as a Las Vegas event photographer shooting candids of people at networking events is an on-camera flash attached to this bracket(Custom Brackets RF -Pro). This allows me to flip the flash horizontal or vertical giving me the flexibility to aim the flash in pretty much any direction needed to bounce the light. In these photos, I am using the flash directly by either aiming it at my subjects or aiming the flash up. When I aim the flash up, I am not trying to bounce off the ceiling but instead, I am using a Sto-fen cover mounted on the top of the flash and using it like a light bulb of sorts.

Business owners enjoy networking at a cocktail hour during a corporate event being held at the Mandalay Bay Convention Center in Las Vegas

There is enough light in the room so that I can expose for the ambient and just add a pop of flash to fill in the shadows and brighten faces without making it obvious.  I usually place a Sto-fen flash diffuser on the flash to soften the light a little unless I am bouncing the flash, in which case I just stick it in my pocket.

Two business owners introduce themselves with a handshake and smiles at a networking event held during a corporate event at the Mandalay Bay Convention Center in Las Vegas

The procession of my photographs from room shots to wide shots to details and intimate candids of people is how I like to work as a Las Vegas event photographer shooting networking events. Get the room and details while they are fresh, then begin capturing people about a half-hour after the event begins. Why do I shoot in this order? It usually takes some time for people to arrive, grab a bite to eat and get comfortable. They get a chance to see me moving around, capturing details and they get used to my presence. It also allows them to get a few drinks, find friends and start having fun. All of these things lead to natural, relaxed candids of attendees enjoying the event. This is what your client will be looking for. In these candids, the people have real smiles, are engaged and shaking hands and laughing. This helps to create images that project a successful event.

Event attendees smiling and posing for the camera at a networking event during a corporate event at the Mandalay Bay Convention Center in Las Vegas

People like to huddle in circles when they interact. That means invariably, you’re going to get shots of the backs of people heads and that seldom looks good. To avoid this, as a Las Vegas event photographer I try to find angles that minimize this problem and look for intriguing enough expressions and reactions that distract from less than ideal head placement. This strategy requires some patience on your part but stay vigilant and keep moving around to find those angles. You can also shoot “posed” candids where your subjects smile and look at the camera. I like to mix in these kinds of shots with true candids. I am always on the lookout for groups of three and five, (the camera likes odd number compositions) who are having a good time and have a formed relationship with each other that will result in fun natural expression and lots of smiles. I will briefly wait for lulls in the conversation so that I can quickly get their attention for a quick shot. It is important to be ready with your settings and not make them wait while fiddling with the camera or flash. This delay, even for a second can result in stiff expressions and unnatural looks. Two quick shots and I’m out, letting them get back to their conversations. Some people are not comfortable having their photos taken and that’s okay. I know I don’t. As a Las Vegas event photographer, don’t force it if they are not interested, just say no problem and move on.

Behind the scenes photograph of the production control room for a large stage event for a opening general session for a corporate event at the Mandalay Bay Convention Center in Las Vegas

Both of these shots are shots the production requested. A behind-the-scenes image of the back-of-house, backstage setup and a front of house “beauty shot” of the stage before the session begins. Both shots were taken using the same technique and equipment. However, the shot of the backstage control room was extremely dark with only the monitors visible and the front-of-house stage shot was very bright. I used in-camera HDR settings in both cases, with a tripod-mounted camera and a cable release. Pre set shot of an elaborate stage setup just before the opening of a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Both shots are “realistic” in the sense that you can see details in the darks, the screens and monitors are readable but what’s naturally dark is still dark in the photo and what is bright is still bright. It would be “unrealistic” to make everything evenly lit. Avoid the temptation to overdue HDR effects, it will just make your images look fake and in my opinion as a Las Vegas event photographer, unprofessional.  These shots would not have been possible without a tripod so keep one handy.

CEO addressing a crowded event venue during the opening remarks of a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Sometimes you get lucky and the production team does an outstanding job of lighting the stage. It is usually a product of how much money the sponsors can and/or are willing to spend. For this event, no expense was sparred and the lighting was incredible. Hence the production company wanting to make sure they had professional shots of the setup and general sessions. Granted, the lighting was exceptional, but it was still my job to make the images interesting. It would have been a shame to work with such great lighting and only to create mediocre shots. Positioning is important and I  attended rehearsals earlier in the day so that I would know when and where everything was happening on stage. For this shot, I knew the little electric car would be entering stage right but would then do a u-turn and end up facing the way it came in. The headlights add an extra dimension to the image. There is enough light on the crowd so that you know they are there while keeping everything realistic. Available light only.

Close up image of a CEO giving opening remarks with a small electric car on stage during a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

A little sidestep to the left and a long lens on my monopod, same scene, different look. Available light. Later in this study, I will talk about using fill flash on stage in certain situations but the light was well thought out and the presenter is lit from multiple angles with fill and key lights. Watch for hand gestures and expressions to make these kind of shots dynamic and interesting.

Audience of event attendees listening intently during a presentation at a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

From the on-stage close-up, I simply turned my long lens towards the audience and waited for a bright scene to appear on the giant screen. The attentive audience was illuminated and I fired away. It’s hard to focus on every face and what each person is doing so be patient and take multiple shots in this scenario. People yawning, napping or looking down at their phones, (which looks an awful lot like they are napping) can ruin this shot. The idea is intent, interested faces, learning from the presentation. Available light from the on-stage screen.Paralympic athletes enter stage right to thunderous applause during the motivational segment of a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Another right place at the right time shot. The backlighting is from car headlights and it adds a dynamic to the shot that would not be there without it. Being in the right spot was not luck. From attending rehearsals, I knew when and where this would happen and moved into place shortly before. I mention car headlights. This was a Toyota sponsored event and the stage was set allowing them to drive their latest models on stage for their audience of dealers to preview. The trick was that most of the cars had not been introduced to the general public so, for privacy reasons, I was asked not to shoot any of the cars that appeared behind the speakers on stage. It was a challenge, but by moving to the left and right edges of the stage, I was able to capture all the action without revealing the automobiles.

Olympian athletes pose for a fun selfie on stage during a motivation presentation part of a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

This was a scripted “candid moment” and it was very important for the client that I capture it. As a professional Las Vegas event photographer, these can’t miss moments and requests from your clients are critical to the success of the shoot. Make sure you know when and where to be and that you have a backup camera if possible. You won’t get a second chance.

Mid range stage image of Olympians during a motivation segment of a general session during a corporate event at the Mandalay Bay Convention Center in Las Vegas

From the same location where I shot the selfie. I just stayed put and went with a wide lens to get an image of the overall scene as the athletes were wrapping up their segment. Available light, handheld.

Large venue decorated and filled with diners at an Awards presentation and dinner for attendees during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Immediately following the general session, the attendees were directed to a large ballroom that had been set up for an awards ceremony luncheon. This is were, as a Las Vegas event photographer, adaptability becomes a necessary skill. We have now gone from a dimly lit cocktail hour to a well lit, action-packed general session, and on to a fast-paced awards ceremony.

Examples of no flash and fill flash while photographing speakers and presenters during an awards ceremony and dinner during a corporate event at the Mandalay Bay Convention Center in Las Vegas

I am posting these side by shots to show a subtle but important difference that you need to be aware of with stage lighting. On stage during the general session, the lighting bathed the speakers from multiple angles and was easy to work with. For the awards ceremony, most if not all the light is coming from lights positioned in the front of the stage and does little to illuminate the sides of the speakers. This creates harsh light and dark shadows and one-dimensional lighting. To create a  pleasing shot of the speaker, I am using an on-camera flash, aimed directly at the subject to fill in the shadows. I have the flash set on manual and at about 1/8th power to fill but not overpower the available light. Too much flash causes the images to look unnatural and creates unattractive shadows on the stage and background behind the speaker. Large group of award winners posing on stage during an awards ceremony during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Awards ceremonies move fast. They generally don’t stop if you have equipment failure, run out of card space, or have a battery die. Miss any shots due to you not being prepared or having backup equipment immediately available and you probably won’t be asked to shoot another event. As a Las Vegas event photographer, it is best to be prepared with a backup set-up equally capable of getting the job done. For this event, I had a second identical camera/flash set up just next to the stage with extra batteries and a third flash just in case. The stage for the awards was well lit, and the participants knew where to stand so things went pretty smoothly. I generally mount a flash on my camera with a Stofen aimed up. I do this, not to illuminate, but so that my subjects can see the flash and know the picture(s) are being taken. I pre-focus as they are lining up and quickly fire two shots. It’s important to get the shot, so make sure you get it but it is also important to keep things moving. Event planners like it that way.Detail photograph of desert served to attendees during an awards presentation during a corporate event at the Mandalay Bay Convention Center in Las Vegas

Just a simple shot of the dessert offerings towards the end of the luncheon. Shots like this are important to filling out the story of the event and highlighting details that your clients have planned and coordinated. Plus these shots can be fun. Here I set the exposure in-camera for the available room light and then manually set the flash to bounce of a nearby wall, camera left, providing a subtle accent without overpowering the deserts. The light angled off the wall creates a soft, directional light that is much more pleasing than using direct flash or auto settings. I would like to have had a direct flash shot to compare this too but I didn’t even consider the possibility.

Press tower located in the infield at the Las Vegas Motor Speedway during a corporate event and corporate outing in Las Vegas as photographed by a San Diego Event Photographer

The event moved outdoors to the Las Vegas Motor Speedway in the late afternoon. If you are not familiar with Las Vegas, we are located in the desert where we have bright sunlight and cloudless days about 90% of the year. This creates harsh lighting that we have learned to deal with. The motor speedway does not offer a lot of shade so we were required to work within the limitations of that harsh lighting. The trick as a Las Vegas event photographer is to either look for reflected light or use on-camera flash to avoid the strong shadows on people’s faces, in eye sockets and under hats caused by the harsh overhead sun. You can use shade where you can find it, but you have to be aware that you will probably blow out any background detail that is not in the shade.

Attendees enjoying rides on the race track during a corporate event and corporate outing at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

The bright sunlight is great for colors and it can make things pop.

Race ready version of a popular passenger automobile prepared to give rides to attendees at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Eager attendee getting last minute instructions before climbing into a race car at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Trucks carrying event attendees through an exciting obstacle course in the infield of the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

When not shooting faces, the direct sunlight is not a problem and you can see from the sky that we had a few clouds that day.

Excited attendee describing her ride in a race car at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

It’s when you start to shoot faces that you begin to have to deal with the harsh shadows caused by the downlighting. In this case, the light is striking her face, under the helmet so we can see her expression. It also helps that the concrete track is a neutral gray and is reflecting light up and into the faces giving us some detail.

Attendees posing for the camera during a ride along at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

The trick here is the use of on-camera flash in such a manner that it brightens faces without being obvious or overpowering. At times, I like to set my auto output on the flash to -2ev to -3ev just to get a pop of light.  On Canon flashes particularly, it seems they are easily fooled by black or white objects and the output can be very inconsistent. Understanding this, I will manually set the flash and pre-test the results to ensure I am getting the desired effect. For instance, a manual setting of 1/8 power output on a bright day gives me a little pop. I then just need to maintain a consistent distance from my subjects, maybe 12 feet when I fire. These are not absolute numbers so you will need to experiment and adjust as the light changes. A final point. Bright sunny days require pretty high f-stop/ shutter speed combinations making it difficult to get your flash to sync with the camera’s low sync speed. The standard is 1/60 but can range as high as 1/180 on my Mark IV. This is still to slow for bright sunlight and proper ambient exposure. My trick is to always carry a polarizing filter. This gives you 3- 4 additional stops to play with. The polarizer effectively becomes a Neutral Density Filter.

Elaborate setup for a corporate outing including a stage and ferris wheel in the infield at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Para Olympians compete in wheel chair basketball with event attendees at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

As the sun begins to get low, the main grandstands are beginning to shade the infield where most of the event is taking place. This shot was taken when the light balance was about right. The contrast will continue to grow until the sun sets and the lighting will even out for a short time.

Artist creates colorful designs on an automobile during a demonstration at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

It’s approaching dusk in the infield during the event and we are beginning to use fill flash to separate and light our subjects a bit. The trick here is to balance the flash with the daylight so that it’s not too obvious. Constantly monitoring and adjusting is the key here.

Entertainers during a carnival and on stage musical venue at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Singer performs on stage for an enthusiastic audience of attendees at the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Singer poses with an attendee and selfies during a corporate event and outing the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

We finished the evening with a concert! Concert lighting is generally pretty easy to work with and the production crews do a great job of creating fun, lively and directional lighting that you can use to your advantage. In this case, they were using newer LED’s so balancing the waning daylight with the concert lighting was easy enough. Tungsten lighting would have been nice though because we would have balanced for the warm stage lighting which would have produced deep, stunning blue skies in the background. I’m not complaining though.

Balanced evening light with accent and spotlights of an automobile display during a corporate event and outing the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

As dusk begins to settle in, we get the happy hour of “night shooting.” The point where artificial lighting balances with the sky, creating deep blue colors and backgrounds. This is the best time to shoot skylines, architecture and buildings to get that deep blue sky while still retaining detail in the buildings and lights. These magic hours happen fast so be alert and prepared to take advantage. Once it passes, the artificial light takes over and you lose details and are left with black, detail-less skies.

Ferris Wheel lit up at dusk during a corporate event and outing the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Classic, long exposure of a Ferris wheel. This is handheld, probably 1/15 of second with an image stabilized lens.  Anything longer would have required a tripod but we will still get a nice effect and a beautiful blue color in the sky. You’ve got about a 10-minute window for this particular shot.

Fireworks fill the sky behind a spinning ferris wheel during a corporate event and outing the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

Firework shots. Handheld and I simply exposed for the fireworks as they burst. The display was big enough and fast enough that I didn’t have to time my exposures. Just point and shoot at the right exposure for the Ferris Wheel lights and fire away.

A crowd of attendees look up at the night sky to watch a firework display during a corporate event and outing the Las Vegas Motor Speedway in Las Vegas as photographed by a San Diego Event Photographer

There was also enough available light from the displays and stage to allow me to expose for the fireworks and still capture the crowd as they enjoyed the show.

To sum up a rather long article. As a Las Vegas event photographer, being able to adapt to the changing lighting conditions and challenges, will allow you to be confident in accepting any event gig that comes your way. Knowing your camera, its abilities and limitations as well as being able to use the light around you will add a professional dimension to your event photographer that your clients will value. Flash is a critical tool as well and knowing how to use it subtly but effectively will take your event photographer to a whole new level.

You can check out more of my work here;

http://www.johnmorrisevents.com/portfolio/corporate-event/

January 25, 2018
Case Study·Corporate Event Photography·Photography
0 comments
by John Morris

Las Vegas Corporate Event Photographer Case Study: Capturing Holograms

View of the Meydenbauer Event Center in Seattle, Washington at Dusk with construction cranes in the background during a corporate event

Table of Contents

  • Las Vegas Corporate Event Photographer Case Study: Corporate Event with Holograms
      • Type:            Multi-Day Corporate Event
      • Location:     Bellevue, Washington (Seattle)
      • Event Size:   Medium
      • Difficulty:   Advanced (on stage hologram during Keynote)
      • Elements:     Keynotes, General Session, Holograms, Breakout sessions, Trade show
      • Skills:         Experienced photographer, Challenging/Changing Lighting Conditions,
      • Challenges: On Stage Holograms, Travel, New Venue, Scouting.
      • Fun Facts:    Travel to Seattle, Working with Microsoft, Cutting Edge Hologram Tech

Las Vegas Corporate Event Photographer Case Study: Corporate Event with Holograms

  • Type:            Multi-Day Corporate Event

  • Location:     Bellevue, Washington (Seattle)

  • Event Size:   Medium

  • Difficulty:   Advanced (on stage hologram during Keynote)

  • Elements:     Keynotes, General Session, Holograms, Breakout sessions, Trade show

  • Skills:         Experienced photographer, Challenging/Changing Lighting Conditions,

  • Challenges: On Stage Holograms, Travel, New Venue, Scouting.

  • Fun Facts:    Travel to Seattle, Working with Microsoft, Cutting Edge Hologram Tech

As a Las Vegas Corporate Event Photographer, we sometimes get asked to work with clients in other locations. I was hired by a client to travel to Seattle and capture a unique presentation for an internal Microsoft Event. This was my client’s first time using a Hologram on stage during a live presentation and they asked me if I thought I could capture the hologram photographically. I said yes, and then went about figuring out just how I was going to do that. I arrived in Seattle the day before the event and after checking in to a nearby hotel, headed over to the Venue to scout the location, figure out parking and get a general idea of the layout of the event center. I decided to go ahead and shoot an exterior shot while I was there and the lighting was good. I walked the perimeter and found the best angle to capture the building and waited for dusk when the sun has set but there is still some color in the sky.  This was a longer exposure than you might expect and a tripod was used. Experiment with different times after sunset until you find the right balance of natural and artificial lighting. If you shoot too early, you won’t get the deep blues of the sky and the artificial lighting will not be as dramatic or pronounced. If you shoot too late, the sky will be too dark or black and the street lights become too dominant. This kind of shot is great to add to the images you deliver to your client because it adds context to the event and helps tell a story.

Crowds of conference attendees line up for registration at the beginning of a large corporate event

I arrived the next morning about an hour before I was scheduled, to grab some coffee and establish a home base for my equipment. I was also asked to take a few images throughout the day and shot the above photos inside the event center on the first morning of open registration. This is probably the busiest and therefore the best time to capture registration. Your clients want to show a successful event and nothing says that better than full registration lines. Timing is important so make sure you are available day one for these shots as lines tend to get smaller quickly after the initial rush. Elevated shots are always good so look for opportunities where crowds are expected.

On stage rehearsal for a performance of a hologram image of BB King with a stage hand standing in for a live performer scheduled for a keynote speech.

I asked about rehearsals and made sure I was available to check lighting and test how the hologram of BB King would look in digital capture. I researched holograms beforehand and looked for examples but was unable to find anything definitive so I knew I would need to figure it out for myself. As I stated, my client was very keen on me capturing their full-sized hologram alongside live performers during the live event and there wouldn’t be a second chance to get it right. Having a chance to get my exposures tuned in ahead of time made the whole shoot less stressful for myself and my client.

Hologram of BB King performing on stage along side a live guitar player prodigy during the opening of a general session at a corporate event

Here are a few observations about holograms. First, they are not sharp by nature so getting a crisp, sharp life-like image, in-camera of a hologram that is dynamic and moving, is difficult, if not impossible. There are however techniques you can employ to capture a hologram at its best. Proper exposure and color temperature are important.  You can capture the best images possible using basic technique. Certain colors and backgrounds can also help. By selecting a background that contrasts and compliments the hologram, you can enhance its appearance and make it stand out. As you can see in the photo above, the hologram colors are similar to the background, and you can see right through it. If you have the luxury of moving around, try to find the best angles for both the background as well as the lighting. Try to capture the hologram when it is still which also works well with live subjects. This particular hologram, though made with light, was not particularly bright, requiring longer shutter speeds. Just to state the obvious, flash will not work on a hologram. Waiting and timing the stage lighting also changed the appearance of the hologram so be alert and use the stage lighting to your advantage when possible. Finally, if you can get close in-camera, a certain amount of post-production will bring the hologram to life as well. Just make sure you have something good to work with before you get to post.

Hologram of BB King performing on stage with a live guitar prodigy during a keynote at a corporate event in Seattle

Skin tones of the hologram were difficult and when I got the skin tone close, the entire quality of the hologram’s appearance improved on the photos.

Hologram of BB King vanishing in a burst of light during an on stage performance with a live guitar prodigy during a keynote session

To be frank, when I capture these several years ago at a corporate event in Seattle, what you see in the images is about as good as the hologram looked live. I am not sure what I expected but at the time, the technology was just starting and we were certainly not at science fiction capabilities yet. It was an exciting presentation and the attendees loved it, but my expectations for the photography needed to be tempered with the reality of trying to capture a hologram. I provide this example and info as more of a discussion of the process. Scouting, preparation, equipment, and technique are important aspects of any challenging shoot. Getting lucky won’t consistently get the results you need to be a successful professional.

CEO presentation during a keynote speech at a corporate event with a hologram of the world created on stage

Less fanfare but just as spectacular was the hologram of the earth. This is a 3D hologram and it rotated slowly as the speaker delivered his presentation. The simpler colors, stage lighting, and dark background made it a much easier hologram to shoot and capture. Being prepared for the most challenging aspects of a shoot, help you handle the easier stuff as well.

Stage set and design behind a corporate presentation during a general session at a corporate event

When shooting keynotes, general sessions and speakers, well exposed, straight-on shots of the presenters are expected, but look for different angles and alternate lighting to provide some unique images to enhance and excite your client and the attendees.

Full audience of business event attendees seated with a elaborate stage set and waiting for the beginning of a general session during a corporate event

Getting crowd shots of seated attendees can be challenging. Getting faces and great expressions are important but also having beautiful lighting and interesting backgrounds helps too. Shot from the front looking back, unfortunately, would leave a black, boring wall as a background and make the use of on-camera flash more obvious.  In this case, I have balanced the exposure with flash to create a more natural image. The on-camera Speedlite is covered with a tungsten gel, and I have used a wall, camera right to bounce and soften the light to make it seem a bit more natural.

Business associates greet each other with a handshake before the beginning of a general session with an elaborate stage set in the background for a corporate event

Right place at the right time. This sort of networking shot, with attendees interacting, smiling and engaged is photo gold for event planners and photographers. This kind of illustration can help tell a story of an interesting and informative conference and I find these shots get used a lot. I had dialed in my exposure and flash balance for the previous shot and then I got lucky when these two stood up to shake hands. Lucky, sure, but I was also prepared. What is it they say about luck?

Hologram of a golden guitar and a band performs on stage during the entertainment portion of a corporate event

The guitar is also a hologram. I captured the image because they were giving away a replica of the guitar BB King was playing on stage and this hologram that was used to illustrate the announcement. It is a striking image that gets attention. Next to it is a shot of the band that performed during parts of the corporate event. I liked the angle of this shot.

Seated presenter behind a laptop projects a presentation on to a large screen during a breakout session at a corporate event

Breakout sessions are an integral part of any Las Vegas corporate event. They are meant to provide information, not photo ops and therefore can be very difficult to make look good. In the case of the photo above, using an interesting image on screen and then placing the speaker in an isolated spot in the frame, I was able to create an interesting image. Don’t forget to look for images on large and small screens that can help illustrate the session or at least provide some color and contrast.

Convention attendees pose for the camera and attendees listen to a presentation during a breakout session

People smiling and willing to pose are always good subjects for Las Vegas corporate event photographers to focus on. Never pass up on the opportunity if your subjects are willing. In this indoor hallway shot, I have exposed for the hallway but also provided a subtle pop of flash balanced with the room light. This helps eliminate shadows under the eyes and helps the subjects stand out.  It is preferable that the flash is subtle and not obvious and the background not too dark to create natural-looking candids and portraits. I used the same balanced flash lighting technique on the image above right. Balanced for room light and screen, with a pop of flash bounced off the wall camera left to create a natural, well-lit image of a crowded breakout session.

Attendees crowd around exhibits during the trade show portion of a multi day corporate event

An elevated position helps convey a crowded trade show of interested attendees. Several other compositional factors make this a good photograph. Leading lines and repetition help lead our eyes towards the people. There is also some color harmony going on with the gold and blue in the displays and screens matching the shirts on some of the vendors. When covering medium size, multi-day or multi-faceted events try to tell a story and capture each element of the event as thoroughly and creatively as possible. If you take this approach to every event, big or small, your clients will become repeat clients. Check out my blog for more tips and event photography info and feel free to check out my Las Vegas Corporate event portfolio to view more of my work. Until next time…..

December 20, 2017
Case Study·Corporate Event Photography·Photography
0 comments
by John Morris

Event Photographer Las Vegas; Attire and Professionalism

Large convention crowd enjoying poolside networking party at the Encore Beach club in Las Vegas

Table of Contents

  • Appearances and Professionalism for an Event Photographer Las Vegas.
  • What Should You Wear as an Event Photographer Las Vegas?
  • But What about My Brand!
  • So What do I Wear as an Event Photographer Las Vegas? 
  • Shoes and Boots?
  • Hats and Head Wear
  • Courtesy and Etiquette During an Event; Saying Hello and Goodbye.
  • Meals and Snacks
  • Taking Breaks           
  • Open Bar 
  • Final Note, Your Event Photographer Las Vegas Team 

Appearances and Professionalism for an Event Photographer Las Vegas.

As an experienced event photographer Las Vegas and a event photographer  San Diego,  and a business owner who occasionally hires and works with beginning photographers, I get asked a lot of basic etiquette questions. “What should I wear?”  “Can I eat with the guests?” “They said it was an open bar.” I have watched as new and inexperienced photographers made questionable decisions making them appear unprofessional and costing them repeat clients. I thought I might share some of my thoughts on event photography etiquette, attire and how certain situations might reflect on you and how you are viewed as a professional event photographer. 

Remember, appearance is more than just what you wear, It’s also an attitude and professional demeanor that clients and attendees notice when you are on the job.

What Should You Wear as an Event Photographer Las Vegas?

It’s as much about what you wear, as when you wear it. Proper attire is not only about clothes, but also about the atmosphere, environment and occasion. Your clothes say a lot about you.  They can make a strong statement both positively and negatively. How people receive and perceive you, and the job you are doing, is influenced by what you wear so it’s critical that your clothes are appropriate for the occasion. I recommend wearing black when possible. Black blends in. Your client may request that you dress to match the production crew, and that color is almost always black. If you’re unsure, ask your client. They will generally give you an idea of what they expect and if they don’t, wear black. It is never a bad idea to always dress nicely. Overdressing is always better than underdressing.

Large, seated crowd listening intently to presentation during corporate event

But What about My Brand!

Your Brand is important, I get that. But as an event photographer Las Vegas, your client isn’t as concerned about your brand image as they are about the images you create and how you go about it. Unless you are the entertainment, or it’s a costume party, low key and appropriate is the way to go when dressing to shoot events. Most event planners and corporate clients want you to blend in as much as possible. Bright colors, bold statements or trendy hats are counter to that idea. Remember, just because they didn’t comment, doesn’t mean they didn’t notice.

Keeping your outfits low key and professional is the safe bet every time. Some photographers like having their business name or logos embroidered on their shirts and as long as the colors are muted, I guess this is okay. I don’t care for it though. I’m not sure why but probably because it looks too much like a fast-food uniform.

Joyous attendees enjoying some stage time during a corporate networking event.

So What do I Wear as an Event Photographer Las Vegas? 

Black and dark gray are my go-to colors for almost all of my events. Polos and/or long sleeve button-ups and slacks are preferred and I like to make sure the materials are lightweight and moisture-wicking when possible. Event Photography is fast-paced and can be strenuous so the lighter and cooler, the better. Keeping my wardrobe simple makes deciding what to wear easy and stress-free. The brands and styles I have chosen are comfortable and easy to work in. I combine the pants and shirts depending on the event and usually add a sport jacket to the ensemble. Without exception, I would rather be slightly overdressed than underdressed.

Here’s what hangs in my closet:

  • Prana pants (3) Black and gray. Lightweight, moisture-wicking, extra gadget pocket.
  • Hagar slacks (2) Black. For slightly more formal events.
  • Levis (2) Dark blue, never faded. For very casual and some outdoor shoots
  • Van Heusen shirts (4) Black, long sleeve button-ups. 70/30 Polyester/Cotton Blend. Moisture-wicking. My go-to shirt.
  • Nike (3) Performance Golf Polos, Black, of course.
  • Calvin Klein (2) Black sports jackets. Lightweight, slim fit (good for slinging cameras)

I am very fond of my Pranas. They are lightweight, moisture-wicking, and look good with or without a sports coat. I keep three black and three gray in my closet, ready to wear. When I find a style of shirt, pair of pants or shoes that I like, I tend to buy multiple’s and keep them boxed so that when used ones wear out, I just open a new package and move on. It should go without saying but make sure your clothes are wrinkle-free, neat and not faded or worn. If wearing black slacks and a black shirt, ensure that the blacks match and the shades are similar. How you dress and conduct yourself goes a long way in how you are perceived and how you will be viewed.

Group of attendees heading to the Las Vegas Motor Speedway center buildings after an evening of fun.

Shoes and Boots?

Comfortable shoes are a must. Just as important as your equipment, shoes allow you to focus on your work and as an event photographer Las Vegas, you can be on your feet for many hours at a time and sore feet WILL  affect your performance. I wear doctor prescribed orthotics for collapsed arches and it is difficult for me to find a pair of shoes that are appropriate, comfortable, and that allows me to fit the orthotics. I have spent an inordinate amount of time in shoe stores trying to find the perfect shoe.

I have different styles depending on the formality of the event, and Ecco and Merrell are my favorite brands. Yes, my Merrells are hiking boots but for outdoor events, and some multi-day trade shows, where I have been known to walk 18+ miles in a single day, I wear hiking boots when appropriate. My Merrell’s are dark grey and black desert hikers that are lightweight and well ventilated. They are very comfortable, low key and they accommodate my orthotics well. I also always carry a nicer pair of Ecco dress shoes just in case the boots are too casual.

On a side note, for longer days, when I know I will be putting a ton of miles on my feet, it’s amazing how changing into a fresh pair of socks can rejuvenate your feet and give you a boost.

Hats and Head Wear

Just don’t. Unless you will be outdoors, in a casual environment where a hat for shade or warmth is appropriate there is little reason to wear a hat as an event photographer Las Vegas.

Peyton Manning making a point on stage during a talk for a corporate event at the Aspen Institute.


Courtesy and Etiquette During an Event; Saying Hello and Goodbye.

You should always plan on arriving 15-30 minutes early, whether it’s the first day of an event or the 3rd. Be prepared to check-in with your client or event planner and leave enough time to go over any changes to the coverage or last-minute details you may need to plan for. Also, make sure you reach out to your contact person when you rap up a day’s shooting. Even when the start and finish times are set in stone. It’s just good form to let them know you have wrapped up and are heading out.

I always like to give my clients a heads up about 30 minutes before I am scheduled to finish. This gives us a chance to touch base and ensure there are no additional photos needed before I leave. Many times, there is an additional shot they want and this keeps me from rushing, last-minute or going into overtime. Changes and additions happen and it’s great habit to get into, it’s the professional thing to do and my clients appreciate it.

A choir, on stage, joyously belts out background vocals as an energetic singer raises her hand towards a crowd of attendees during a convention

Meals and Snacks

Keeping yourself well hydrated and full of energy is important for your well being and performance. During active, busy events it is very easy to forget to eat or drink. Clients may fill your schedule and forget to include meals and break times. Make sure you review your schedule with them ahead of time if possible to allow you to take care of yourself. For anything less than 4 hours, I don’t expect my client to provide me food or the time to eat it. A few power bars and some bottled water to is generally all I need to keep energized. You may be tempted to grab a beef slider or pot sticker from a plate of hor devours as they pass but this may be perceived as unprofessional.  Remember, you are being paid to photograph people having a great time, not as a guest. On occasion, clients may be generous and tell you to help myself, but unless you know the client very well, it’s best to avoid partaking as guests and others may not know the arrangement and will judge for themselves.

On all day or multi-day events, it’s important and necessary to eat. Again, I don’t feel that this is the client’s responsibility nor do I ask for it in my contracts. Having said that, there are times when it makes sense from an efficiency standpoint to accept a client’s offer of meals. For instance, if there are no restaurants or snack bars close to the venue, or when timing is tight and you may not have the time to leave the venue for lunch. Meals and break arrangements need to be agreed upon ahead of time and are an important consideration. Confirm that they are okay with the timing of your meal breaks and clarify whether or not you can join the attendees at the buffet or should dine separately with the stage and event crew. The one thing you shouldn’t do is just help yourself. If in doubt, you should always pack some power bars and eat them when you can.

Taking Breaks           

You may have just finished working four hours straight and need to get off your feet for a few minutes, go to the bathroom or drink some much-needed water. When taking breaks, do it out of sight of your clients and their guests or attendees. This applies to events both big and small. Someone is always watching and even when you think you are being low key or lost in the crowd, people notice you. The gear gives you away and people are curious. They may not know that you just walked five miles and a break is deserved. All they see is a photographer sitting when they should be photographing something. Finding a quiet spot where you can rest inconspicuously and uninterrupted is a smart move appearance-wise and professionally.

Gene Simmons is recognized by a shocked fan walking the aisles of the SIA Snowsports Show is Las Vegas.

Open Bar 

It is never a good idea to take advantage of alcoholic drinks, before, during or after shooting an event venue. Surprisingly, you may be invited to partake more often than not. Again, someone is always watching and it would be easy for people to misinterpret or make assumptions based on appearance alone. Best to just avoid the temptation. When offered, I don’t openly or verbally decline the offer, I just say “thank you, I appreciate that”.

Final Note, Your Event Photographer Las Vegas Team 

Remember, the people you hire to work with you and for you also represent you. They are an extension of you and your company. I employ several second shooters, photo assistants and image editors on many of my shoots and it’s important that I share our client’s expectations with them. Don’t assume your employees know the dress code, rules or arrangements. Make sure everyone on your team is on the same page before the event begins. This will help avoid any potentially embarrassing misunderstandings that can leave a negative impression of how you do business.

You can take a look at some of my event photography Las Vegas here;

http://www.johnmorrisevents.com/portfolio/corporate-event/

As always, I welcome any questions or ideas you may have so please feel free to contact or comment on my article, until next time……

October 27, 2017
Corporate Event Photography·Photography
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by John Morris
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