Photography

San Diego Corporate Event and Booth Photography

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.

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.

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!

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.

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.

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.

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…..

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

San Diego Event Photography Grand Opening Event

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.

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.

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.

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.

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. 

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.

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.

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

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 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.

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.

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.

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/

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.

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.

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.

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.

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.

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.

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……

Las Vegas Event Photography Requires Pro Level Equipment

I’m just going to put this out there. Gear matters! For professional Las Vegas event photography, you want to be able to compete for the large clients, the multi day corporate events and star studded keynotes, gear matters. I get asked all the time about equipment. From other photographers, to event planners and even attendees. It usually starts with, “What kind of lens is that”? or “Is that the Mark 5?” While I am not a gear guy, I do love talking about photography, so I am always happy to share what I’m carrying and thoughts about why I am using it.

Some will say that in the hands of a skilled photographer, any camera is good enough. While true in a simplistic way, in reality, a professional photographer is going to use the best equipment possible in order to insure success. Obvious right? Well good equipment costs money and if you are just starting out, money can be in short supply. I understand that, but in order to be able to meet the needs of high end corporate event clients, you will need to invest in order to be successful. Sure, you may be able to land a big client, but without the right gear, your results will be disappointing and you may not keep them.

Fortunately, while I strongly advise professional quality camera equipment, you don’t need a lot of gear. I probably shoot 80-90% percent of all my assignments with a used Canon 5D Mark II, a 24-105 F4 and a Canon 600 Flash unit(an older 580 would be just as good). To Nikon users I apologize. I will be writing in Canon language. That is what I know, but you can apply these same principals to Nikon, you will just have to translate. For a point of reference there are basically three categories of Canon camera. This generally applies to Nikon as well.

So What Camera is Good Enough for Las Vegas Event Photography?

EOS 1D Series. Top of the line and in my opinion not necessary for corporate event photography. Though I love my 1D Mark IV.

EOS 5D Mark II, Mark III, 7D, 7D Mark II, EOS 6D. Cameras in this group are what you should be aiming for. These are what I consider the workhorse category for most Las Vegas event photographers and wedding photographers. They may not be fast enough for sports work, but more than adequate for most other kinds of photography.

EOS 80D, 70D 60D, any Rebel. These are cameras that I would not consider using for consistent event work. They have good sensors but are not designed for casual photography. They don’t have the appropriate speed or durability needed for the rigors of professional Las Vegas event photography. They might work as inexpensive, emergency backup cameras in a pinch.

EOS 5DS, 5DS-R. These cameras are specialty and not necessary for everyday event work.

The camera doesn’t have to be a new one. Find a good used one. Your camera doesn’t have to be the latest model either. My 5d is several generations old now and I still don’t feel the need to upgrade at this point. You do have to invest in good equipment. You can work your way up with small jobs and lesser equipment but for the big stuff, you need pro level. With the camera body, the sensors are similar, it’s the focus speed, focus speed in low light, sync speed, and long term durability that matters .

Only Top Level Lenses

24-105 f4. Some might argue that the 24-70 2.8 is necessary and that having that one extra stop can make a difference, however, with an image stabilizer, and it’s excellent sharpness combined with the increased ISO sensitivity of camera sensors, in my opinion, negates the need and makes the 105 a better choice. Add the extra reach of the 105 and the fact that this it is a very sharp, and this lens stays permanently attached to my 5D. In fact, so much so that I have two. The second is a backup because I wouldn’t want to shoot an event without it. These lens are readily available used and for decent prices.

There are many shooters who like fixed focal lengths vs. zoom and I understand, but for me, a zoom is much faster than using my feet when an opportunity presents itself. A zoom also allows me to be discreet and low-key. Most importantly, from a cost standpoint, I can get much more focal length for my money. Good primes are expensive. Inexpensive primes, while better than inexpensive zooms, still aren’t quite good enough, in my experience. Yes, the standard 50 is a capable lens, and if that is all you have, use it. I would prefer to shoot with that than a sub $500 zoom lens, but even a good, inexpensive 50 can be slow to focus. There are always exceptions of course, but in my experience, not many.

Borrow a lens. There are plenty of camera rental companies now. If you do land a big job, rent. (Names of a few rental companies) You only get one chance to impress a client. No excuses! Keeping a client once you have them is a lot easier than finding new ones.

Gold is Better than Red, Right?

The quick answer, no. Red band vs. gold band. Canon has several categories of lens. Their L-series lens are generally black with a red band or ring. These lens generally are optically and construction wise superior and suitable for professional use. Gold band or ring lenses are non-L EF lenses that may or may not have USM motors for quicker focus. They are slower to focus, less durable and have more glass elements between your subject and the camera sensor. There really is no comparison for focus speed, durability and sharpness between the two.. I know I shouldn’t make absolute statements, there are always exceptions, but this is my professional opinion and I am going to stand by it. L series, red band/ring lens are what you should be using. I want to touch on the durability difference. I don’t need to be able to drop my gear from 10 feet in order to use it, but in corporate event photography, particularly multi day events, you gear gets used a lot! This constant use, and inadvertent bounces and bumps, quickly takes a toll on your equipment. You’re lenses are particularly vulnerable because they stick out there take the brunt of impacts both large and small. Red bands, L- series lenses are just built that much better and they can stand up to the abuse for alot longer.

Flash IS Available Light

You just can’t count on available light in Las Vegas event photography. I’ll qualify that. There is always available light during a corporate event, you just never know if there will be enough of it and what the quality will be! Flash is not an option, it is a necessity. Canon 580’s or 600’s are what you need. Smaller Canon on camera flash units or after market brands that don’t output at least a GN (guide number) of 36, will be of little if any use. Without getting into technical details, 580’s and their equivalents 580II, 600, and some aftermarket brands such as Metz 58 AF-2 and AF-2, Nissin Di866, and even the venerable Vivitar 285HV (if you can find one) are all suitable power and feature wise to get the job done. Personally, other than the Vivitar, I have always used Canon brand flash units, but on a budget, I would definitely use one of the aftermarket brands. I have also found that a swivel head is critical to being able to control the quality and direction of the light. Do not be hesitant to use older models such as the 580 or 580II. I currently use the 600’s but I still have 580’s that I use regularly and as backup.

For the level of Las Vegas event photography that is quite lucrative and exciting, camera style, lens build and flash output are critical to your success. Anything less, and you are making a challenging job, a heck of a lot harder. The good news is that professional level equipment will fill you with confidence and help create work that will make your clients happy. More good news! You don’t have to buy new or even the latest models. Over the last few years, improvements in camera technology, sensors and lens have slowed. In fact, I am currently using all version one lenses, a 1D Mark IV that they don’t event manufacture anymore and a wonderful 5D Mark III. I have recently upgraded to Speedlight 600’s for their wireless control but my 580’s are still quite relevant. There you have it, my take on equipment matters.  To see some examples of my work with the above equipment recommendations check out my portfolio here http://www.johnmorrisevents.com/portfolio/corporate-event/

Photographing Las Vegas Corporate Events. Long Lens and a Monopod

When shooting Corporate Events either in San Diego or Las Vegas, the more advantages, tricks or equipment combos I can use to ensure quality photos, the better. Being able to capture professional-quality imagery for the client, particularly in difficult or low light conditions separates the average from the best. On top of that, you don’t get second chances to capture compelling images and important moments when working live events, stage performances or keynotes. In this post, I attempt to explain some of my thoughts on a camera, lens combo that I have come to rely heavily on to ensure I provide the best images possible to my event clients.

My Two Favorite Lens for Las Vegas Corporate Events Photography

Frankly, I only have two lenses that I use to handle almost 95% of all my event work. My workhorse Canon 24-105 f4 IS (I have two) and my Canon 70-200 2.8 IS (version 1). With a 24-105 on my 5D Mark lll and the 70-200 on my 1D Mark IV, I am very comfortable with pretty much any scenario or subject matter. Before the newer, higher ISO’s which are very usable at even 6400 in a pinch, the 24-105’s might have been a bit slow. I struggled with several 24-70 2.8’s and never found a “good one” that didn’t have back focus issues with some of the older digital cameras. But today, the 24-105’s are more than fast enough at f4 and ISO 3200 with a little Lightroom magic added to render virtually noiseless images. Add the 2-3 stop IS compensation and the only real problem I have is keeping the subject still enough in low light to avoid motion blur. I’m getting off track here, my use of 24-105’s is a whole different discussion.

Camera and Long Lens Combo

So why the 70-200 2.8 and why is it almost permanently attached to my 1D Mark IV and monopod? The first answer is weight. This is a heavy setup. Many times I find myself shooting a general session or a keynote speaker and lugging around just the camera and lens without any support would wear me out. Award ceremonies and graduation, where I can be holding the camera in position for 30-45 minutes at a time, are just not comfortable, and let’s be honest, doable for me. I could carry a lighter setup, and many times I do, but as we discuss this combo further, you will see the advantages and begin to understand why I love this setup with the monopod.

Securing the 70-200 on the monopod using the tripod collar gives me a very balanced and steady shooting platform. Not only is this combo heavy, but zoomed out to 200mm presents the real risk of camera shake. The longer the focal length, the greater the exaggeration of any kind of movement or shake on your part. In event conditions, low light is always a potential concern so the monopod gives us a bunch of breathing room.  The rule of thumb for hand-holding focal lengths and the suggested usable shutter speed is the focal length X2 = the shutter speed.  So if we are zoomed out to 200, we need to have our shutter speed set to at least 1/500 of a second.  Generally, even on well-lit stages, we are lucky to get 1/125 so you can see there are lots of potential issues with getting in-focus shots in low light.  With the lens in place on top of the monopod, I easily get a very high percentage of in-focus shots, in fact, I rarely miss. On a side note, Canon recommends that you turn off the stabilizer on this lens when it is on a tripod or monopod. Something about the lack of instability can confuse the system that is expecting a certain amount of shake.  I do this, but honestly, I have forgotten many times and not had a problem. Just keep this in mind if your monopod mounted and are having issues with focus.

My Four Key Reasons for Using the Canon Mark IV and 70-200 on a Monopod

Heavy, Steady, Low Light and Stealth. I feel like of covered heavy first, sort of combined steady and low light second and now onto stealth.  Generally speaking, I personally do not like walking up to the edge of the stage and getting in the way of 1000’s of people to get close-ups of the speaker. Of course, there are many times when this is necessary for a great wide-angle shot of the speaker in context, including the crowd, but being able to stay 4-5 rows back and still get in tight, is very helpful. From a position further back from the stage, you can avoid distracting the speaker, stay out of the way of production cameras (usually stationed towards the back) and avoid irritating VIP’s who are usually occupying the front rows.

Misc Benefits of a Long Lens and Monopod

My final argument for why I use this setup is an assorted mix of important benefits that are crucial in my attempts to capture keynotes and general sessions. I will list them here in no particular order:

• Sometimes you physically can’t get close enough. This combo gives me the ability to pull the subject in when I can’t physically get closer.
• Discussed above plus added “reach”.
• Speaking of “reach,” that added length helps me if I am at the wrong end of the stage when something important happens and I need the shot.
• If the stage is much higher than the seating area, you can move back to avoid shooting up your subject’s noses.
• Natural expressions and candids (where the subject is not aware of your presence) are much easier when you can be away from the action.

A Working Las Vegas Corporate Events Example

I have a story that helps illustrate some of these benefits from a shoot I did just a few weeks ago in Las Vegas. A major Japanese auto manufacturer was hosting a dealership meeting for several hundred of their biggest dealerships. They wanted me to capture various CEOs and VIPs as they welcomed and introduced the next year’s line of new cars. The cars themselves were top secret and they did not want images taken of the cars. On top of that, they did not want me to be upfront, preferring that I stay low key.  Apparently, the last photographer they hired was a major distraction and they did not want a repeat of that. Of course, this is a tailor-made situation for using my long lens, monopod setup. That’s why I’m sharing it with you. Using my setup, I was easily able to stay back and out of the way, isolate the speakers from the cars in the background, and because the presentation was fast-paced, I was able to “reach” across the stage to capture shots of important events when I was not in always in a prime shooting location relative to the on-stage event.

Wrapping it All Up

A couple of final and important details. This setup works best with the tripod collar attached to the 70-200. Not only because you need it to mount the lens on the monopod, but also because you can loosen the collar a bit and rotate the lens from Horizontal to Vertical quickly. A warning! This does tend to scratch up the body of the lens under the collar so be aware of that.  I buy my lenses for the long haul so this doesn’t bother me but I certainly understand if it might bother others. Second and third are Mark IV related. The Mark IV has separate shutter release buttons when either holding the camera in landscape or portrait mode which makes it very comfortable when operating this setup. I can hold the camera comfortably in either orientation which also helps stabilize my camera to avoid shake.  And finally, the 1.4 crop factor with the Mark IV’s sensor gives me just a bit more magnification allowing me to get “a bit closer” to my subject than a full-frame.

There you have it.  My go-to combo for shooting many aspects of corporate events. I have included a couple of links to help you in case you are interested in exploring this setup further. The Manfrotto monopod and the monopod head can be found on B&H and other equipment sites. Thank you for reading and we will talk again soon. Please take a look at some of my Las Vegas Corporate Events Photography here http://www.johnmorrisevents.com/portfolio/corporate-event/

Manfrotto Monopod

Manfrotto Rapid Connect Monopod Head

My Scouting Approach for Corporate Events

I shoot corporate events. I also coach aspiring corporate events photographers. Currently located in San Diego, I spent most of my career as a corporate events photographer based out of Las Vegas. If you’re going to work as a corporate events photographer, Las Vegas is a good place to be. Something you will learn about me if you visit my blog often is that I am an anxious person. Preparing and scouting events not only helps alleviate my anxiety, it is also a requirement as a professional photographer. So, when asked if I would photograph then-President George W Bush, I got very excited. I also got very anxious. This is how I scouted and prepared for this particular event.

The President’s keynote was scheduled for 9 am in Reno, NV., in front of a crowd of 1000 American Legion members. Reno is about an 8-hour drive from Las Vegas. I was unfamiliar with the conference hall where the speech would be given so I was not certain of what kind of lighting or access I would have. Should I drive or fly? When should I arrive? The day before, or two days before so that I could scout? Will they let me scout? How close will I be allowed to get to the President while he speaks? What is the lighting like in the room? Can I use a flash? Should I use flash?  These are all important questions that you need to ask yourself when preparing for a shoot. You don’t get to hit the reset button when shooting keynotes so you must prepare as much as possible beforehand. Scouting is important.

Getting There. The Logistics of Transportation at Corporate events.

I decided to drive. Time-wise, 8 hours up and 8 hours back is a huge time investment, but I hate what flying has become. I always have to fight to protect my equipment and risk the airlines losing or damaging my gear. Expense wise, the cost of fuel vs. the cost of a round-trip ticket and a rental car was a wash. Additionally, I like to drive and I wanted to use the opportunity to explore Virginia City and Mono Lake for a personal project I had been working on. In order to have time to scout the venue where the President would be speaking, I decided to drive up a few days before. With a late morning start and an 8-hour drive I would arrive later that same afternoon, check in to the hotel and be ready to scout at 9 am, the day before the speech. This would allow me to scout the conference hall during the same time of day that the president would be speaking.

An important part of scouting any location is transportation. Commute time, parking, ease of access, and entry and exit points are all often overlooked aspects of an event’s location. Part of your job as a professional is to be on location and ready to shoot. Knowing how long it will take you to get there, where to park, and how you will get your gear from your vehicle to the event are critical considerations. Even the route you take from your car to the event site must be accounted for. Knowing the logistics ahead of time, helps you prepare for the unexpected and lets you concentrate on the job at hand. Ignore these details and you might find yourself hoping you find a parking spot close and feeling a lot of unnecessary anxiety as you scramble to arrive on time.

Scouting Corporate Events for Lighting

When scouting any location, even an indoor one, I try to scout at the same time of day as the event. I can’t count how many times a wayward skylight, entryway doors or windows have unexpectedly effected a shoot. I am also able to observe the quality, quantity, and color of the light.  This way, I can ensure that I am carrying adequate lighting equipment and gel any flashes I might need. Upon arriving at the convention hall I was able to determine that the hall was very big. The ceilings were probably pushing 50 feet making bounce flash ineffective. If I was going to use flash, it would have to be direct. There were entry doors with windows at the very back of the hall which would probably not affect the stage lighting in any way. The main light source for the entire hall was ceiling-mounted, mercury vapor lights. These types of lights emit a magenta if your camera’s white balance is set for daylight. I was able to make all these calculations within just a few seconds.  While they are important factors to consider, they were largely irrelevant in this case because of the elaborate stage lighting.

Scouting for Stage Lighting at Corporate Events.

If you’re at all experienced with large, indoor event photography, you would have probably already assumed two things. First, the conference hall would be large with high ceilings. Second, that the podium or stage, where the President would be speaking, would be lit well. Production companies tend to splurge when preparing for keynotes as important as a President’s. In this case, the stage was well lit with tungsten spots and floods.  The amount of light I would have to work with was not going to be a problem. It is also important to know the direction and where the lights were coming from. Knowing this, you can determine how the light will fall on your speaker and where the best vantage points will be. I was able to speak with a lighting technician and he briefly brought the stage lighting up to keynote levels. I then metered and recorded the settings a day ahead of the President’s speech. Now I knew that I could handhold, use a low ISO and I wouldn’t need flash.

Not all stage lighting is created equal. When scouting for stage lighting, make sure to identify any hot spots or areas on stage where the light falls off. Hot spots usually occur towards the center of the stage and can result in overexposure. Light fall-off usually occurs towards the front, near the back and on the sides of a stage. This is a factor especially if your subject or speaker is moving during the speech. Pay attention to background lights as well. Overly bright up-lighting, giant led screens, and general clutter can result in overexposure and confusing backgrounds. Look for areas behind and to the side of the stage that make for good backgrounds where you can place your speaker and keep distractions to a minimum.

Corporate Events Scouting. Envisioning The Shoot

Of course, lighting is only part of the equation. Convention hall size, access to the stage or podium, and entry and exit points are critical factors to know ahead of time. I had arranged to meet with the coordinator who hired me at 9:30 am that same morning. She explained that I was to be a member of a press pool and that we would rotate through three different locations during the President’s one-hour speech. She also showed me where the President would be entering and exiting. With this information, I envisioned how the whole event would likely unfold. Envisioning helps me determine the timing of the event, the best locations to be in, and the equipment I will need to make the best shots happen. It also helps me identify and prepare for any potential problems or challenges I might encounter during the shoot.

Speaking with a Coordinator or Production Manager

            Twice now I have mentioned speaking with people in the know. Speaking with and communicating with coordinators and production people is critical to the success of a corporate events assignment. While it may seem obvious, I am always surprised when coordinators express appreciation and tell me stories where photographers have not reached out to them. Expectations and important boundaries can be discussed ahead of time which helps avoid problems during the shoot. Unexpected events, beneficial vantage points, and key moments can also be discussed and shared. This can provide you with invaluable information and access you might not have been aware of otherwise. Don’t limit your communication to just coordinators and managers. Stagehands, security guards, and even other photographers can be a great source of information as you scout and prepare for any event.

Putting It All Together

            Let’s imagine two scenarios. I will try not to exaggerate in favor of scouting over just showing up.  I won’t have too.

After spending approximately an hour scouting the venue in Reno NV, I was able to collect a wealth of information that I otherwise might not have had. Now,  I know the general lighting for the entire hall and I know the specific lighting for the various parts of the stage. I have preset my ISO, color temp and exposure settings to begin the shoot. I made contact with the production manager, coordinator and maybe a security guard giving me points of contact should I need anything or have any questions. I know where the President will be standing during his keynote and I have an idea of the best backgrounds. There are three locations where I can shoot from and I know what lenses I will need to take advantage of each spot. I know where the President will enter and exit the stage preparing me for any candid opportunities that might arise. The coordinator has walked me through the sequence of events and I can now envision how the shoot should play out. This helps me plan for any problems or opportunities I might encounter. I received instructions from the Secret Service and I understand what I can and can’t do, where I can be and not be. Am I still anxious? Well yes, I’m an anxious person, but I’m not panicking and I feel ready.

The other scenario. I arrive the night before the shoot. I can get into the hall that evening, but because the lighting is different, I am not sure how the daylight will affect the stage. The production crew and coordinator are done for the day and are nowhere to be found. I can see the venue and know that it will be a direct flash only.  I can always dial in the exposure for the stage lighting as the President walks up to the stage. I wonder where he will enter and exit from and where I will be standing. I’m probably going to have to move quickly so I won’t be able to carry a lot of equipment. I hope I have the right lenses at the right time. I have never worked with the Secret Service before, I might have to figure it out as I go. Probably when I fire my flash during the President’s speech. Take a look at some of my corporate events work here http://www.johnmorrisevents.com/portfolio/corporate-event/