Event Photography Examples
If you’re thinking about becoming an event photographer, this guide can be helpful. I’ve been looking for the complete kit for a long time to become a successful event photographer. I have carefully tested and calculated the cost. All current articles are available so that it is up to date unlike some of the instructions I’ve read.
I have attended training and held several different events to help others avoid some of the common mistakes. This guide to event photography is based on my personal experiences. You are welcome to reproduce it as long as you credit the website address to this article
I recommend anyone who is interested in event photography to attend the excellent Systems Insight training course. Talk to Mike Orr, Stuart or Darren at Systems Insight. I also found the Event Photographers Society very useful.
It is divided into the following sections:
1, camera equipment required for event photographers;
2. Lighting equipment for event photography;
3. Printer for instant event photos;
4. Mitsubishi click system for event photography;
5. Green Screen Event Photography;
6. Start an Event Photography Business.
1. Camera equipment for event photographers.
You DO NOT NEED the latest professional DSLR with professional glass lenses to shoot an event! It’s nice to have a good kit, but that should be self-evident for any professional photographer. In fact, at a football tournament, school prom or black tie event, the customer does not care what equipment he has, as long as the results are good, and he does not want to carry a heavy camera with a fragile glass in an environment that does is often hilarious and busy!
You do not have to shoot RAW files in high resolution and you do not have time to work with hundreds of settings. You want to create a sharp, vivid, and well-lit photo with sufficient resolution to print it to your final output size. Concentrate on making people look great!
I recommend a wireless workflow, which I will explain later. Again, the files must be so small that they can be sent quickly. I use a Nikon D700, but that’s just because I have one for real estate photography because I need full-frame and low-light features.
I shoot JPG images for most medium-resolution events using a Sigma 24-70mm HSM lens so I can quickly zoom in between individuals and groups. A Nikon D40 with a kit lens is also sufficient. and I always have one as backup. It also houses my Nikon flashes and is much lighter than a D700.
It is important to have a rear view camera. I was even satisfied with a Nikon Coolpix P6000 when my D700 was used on a pitch-side cricket event. With proper lighting (see Lighting section), I achieved almost identical results when I photographed people in front of a green screen. You must have at least one fully charged spare battery, a few spare and preformatted memory cards, and replacement batteries for each flash unit for each camera. I use the new Duracell batteries for the flash units while they stay.
So do not go crazy on the camera kit, it will be beaten at an event! In the settings, I photograph indoors with about f7.1 to f8 for groups, so I get a good depth of field. I use shutter speeds of about 125 to get sharp shots as I do not like a tripod, too restrictive, and I use ISO 400 for sufficient sensitivity. White balance is easy on a Nikon, see Lighting, but the flash setting is fine. For individuals and couples, I open up to about f5 and shoot full length, head and shoulders and a close-up. Outdoor events depend more on the available light and lens.
A tip: Use a wireless transmitter to send the images directly to your PC, Mac or your Click system. This avoids the risk of people (especially the ladies) wanting to see every shot on the back of the camera while you record it! This will help you get through it faster and your workstation team will display the full size images correctly. Actually, I keep the images stored in the camera as a backup if the wireless system stops working.
Another tip: If you photograph groups at a school graduation ball or corporate event, take a step ladder with you! When you climb over them and shoot down, the angle changes and the front person looks much bigger than the back! In this way you can compress even larger groups. This is especially useful when photographing in front of a green screen at an event.
Even if you ever have a large group of girls at a graduation ball or sweet sixteen event, take MANY shots! It’s very hard to get a single photo that every girl is happy with. The boys are really not that picky. The girls buy the photo they look best on.
We usually charge a standard rate of £ 10 per shot, including a 6×9 photograph. However, we offer incentives for groups, such as For example, to discount copies of the same photograph or to offer 3 for the price of 2 if they are different shots that need to be edited.
2. Lighting fixture for event photography
I do not use studio lighting for indoor events! Initially I used the standard large softbox above the camera and shot in front of a gray, back or white background. But this is boring and old-fashioned nowadays, the lighting is very shallow and there is always the danger that people will trip over cables and find a power point nearby.
School graduation, bar mitzvah parties, and especially sweet sixteen parties are getting very crowded, and although we are fully insured, I do not want a heavy studio light to fall on a guest. It’s the same at corporate events and Black Tie dinners, after dinner there’s usually a huge rush of photos, and even a taped-off light can be overrun by a drunken party-goer!
So now I use a Nikon SB-900 for the camera with the wide-angle flap down and the built-in soft diffuser. This controls two more Nikon SB-600s, which are also equipped with wide-angle flaps and use Nikon’s superb CLS lighting system. The two SB-600s are mounted on sturdy but portable stands and shoot through white umbrellas for a pleasantly soft light.
At an event, you do not want to play around in changing light when you have queues, but this setup is flexible and light enough to move quickly when needed. With the Nikon system, I can control the brightness of each flash directly from the camera without having to touch the lights.
Because we use green screen backgrounds at most events to add effects and digital backgrounds, we need to make sure that the background is evenly lit to avoid problems when coloring the green. By placing the umbrellas high on both sides and shooting them, the green (or blue) background will be evenly lit where it matters. Guests receive a beautiful, flattering lighting that I can easily customize for large groups or close-ups. I
I shoot with full manual effort with a camera flash of about 1/32 to create a little fill light, but mainly to trigger the two mounted lights. These are usually at about 1/8 power, which is sufficient! Recycling is very fast and I never had to change the batteries at an event, even though I have spare parts at hand.
If I get a big group like a football or cricket team at a sporting event, can I quickly move the two sidelights back and up. When it calms down and we get a guest who wants some special shots, the lights can be moved like this One acts as a keylight and one as a filling for classic Rembrandt lighting. The workstations are running a professional rework software that can quickly enhance images when someone wants to take portfolio shots.
The SB-900 on the camera can also be removed and used as a slave for hair lighting or other effects triggered by the on-canera flash. So we can easily make a three light setup! White balance is crucial. For Nikon cameras, set white balance to “ahead” and press and hold the wb button for three seconds. When the display flashes, point the camera back between the lights and take the picture. If “good” appears in the display, you can start. If not, try again with one of the sb600s, it will work!
The beauty of this system is that everything fits in a suitcase and is easy to carry! It is very flexible for other types of photography. These flashguns are just as powerful as studio lights, and we even bring fong diffusers and softboxes if we have the opportunity to do some glamor photography. (and yes, you can book us for private shoots!)
3. Printer for instant event photos.
Previously, I ran a large independent company that sold calibrated color printers, scanners, and displays for the corporate design market. Previously, I worked as a color consultant with Canon, Xerox, Mitsubishi and Tektronix. Choosing the best event printers was an interesting task!
Inkjets and color lasers were fired immediately because I needed portability, reliability and photo quality. Also, I needed to know exactly what each print would cost. An inkjet printer produces quality with a little bit of fine tuning, but never achieves the quality, speed or durability of a particular dye sublimation printer.
I do not believe in compatible inks because I’ve seen first-hand how much R & D flows into a manufacturer’s ink. Therefore, inkjet prints are too expensive for event printing. Lasers are fast but do not have good color quality and are extremely difficult to transport. After testing all the latest offers, I chose the Mitsubishi 9550 DW, which is connected to the Mitsubishi Click system.
Since I use a full screen camera, this is exactly the size with which the camera takes, so no cropping is required! The photos are fast and very accurate thanks to the special color profiles we use and have been refined by Systems Insight!
The dye subprocess essentially involves heating the ink on a ribbon until it turns into a gas and sublimates into the specialty paper. This is a truly continuous color tone process, so the color gamut is much wider than other processes, resulting in smooth and accurate skin tones without dot patterns.
You can actually roll up a photo and leave it in half a liter of Coke, let it stand for hours, and then wipe it dry with no signs of running or fading, as shown on the Stuart training course! These photos really do not fade and are fingerprint-proof thanks to the special coating. They last longer than any other photo!
The fixed cost per photo allows us to offer pre-paid events such as weddings or school evenings at discounted prices because we know exactly how much each photo costs, regardless of how much of each color is used.
But we also offer a unique digital make-up service for events that use a very special PC with professional retouching software, requiring a printer that we can connect directly to. And we wanted to be able to instantly offer 12 “x 10” photos and other large formats for sporting events, such as football and cricket events, where team shots are popular.
So we decided to go for the larger format Mitsubishi and have now found out that it also works on the click! Consumables for the Mitsubishi event printers are available immediately, and therefore discounted prices lower costs. Some of the less known brands, such as Shinko and Olmec, are often difficult to obtain.
We are pleased with the speed, quality and reliability of our printers, but more importantly, our customers love the results.
4. Mitsubishi Click System for Event Photographers.
As mentioned before, I have a background in color technology, but before that I was a DEC system manager, with a degree in computer science and a qualified programmer. Yeah, I’m old enough to do all this, and spent 7 years in the army to control the Artlillery fire with computers, slide rules, and logbooks when those systems were taken out.
So I’m more of a techie than most photographers. Why did I choose a turnkey solution for creating event photos instead of using my experience with PC and Mac solutions?