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John Morris Photography | Las Vegas Event Photographer > Blog > Photography

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 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

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

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

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
0 comments
by John Morris

In Las Vegas Event Photography, Gear Matters

An executive delivers a keynote speech to his audience and is dramatically spotlighted, on stage, from a single light source

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.

A capacity crowd of attendees pack a convention hall to watch and participate in a mock Family Feud entertainment segment of a corporate event.

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.

Hologram of BB King performing on stage during a Keynote for Microsoft Corporate Event

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.

Meet & Greet with conference attendee and General Colin Powell

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/

August 31, 2017
Corporate Event Photography·Photography
0 comments
by John Morris

Equipment Tips for Photographing Las Vegas Corporate Events

President Bill Clinton address a crowd of supporters.

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.

James Carville addressing a corporate event.

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.

Blue Man Group entertaining a corporate event audience

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.

College Game Day set during a corporate event

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.

Enthusiastic audience applauding during a corporate event

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.

Excited Corporate event attendee in full racing gear

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

August 24, 2017
Corporate Event Photography·Photography
0 comments
by John Morris

Corporate Events: Scouting for A President’s Keynote

President George Bush speaks during a corporate event.

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.

Bathed in blue light, President George Bush speaks confidently during a corporate event.

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.

From behind a presidential podium, President George Bush addresses a crowd during a corporate 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/

August 14, 2017
Corporate Event Photography·Photography
0 comments
by John Morris

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