I can’t help myself. When I come across an article I like, particularly if it’s showcasing some new piece of camera tech, I don’t snip and clip it to Evernote, I don’t copy and save it a Google Doc, I don’t email the link to myself. No, I Pin it. And I’m only a little embarrassed to admit that as a grown man, one of my latest online habits is making interactive pin-up boards. It’s my dirty little online secret, but I think it’s time to come clean.
Pinterest deserves more respect than most people I know give it credit for. My habit started out innocently enough. Like anyone interested in digital marketing and extending the reach of their little brand in a giant universe of noise, I first delved into Pinterest just because it was there, it was free to use and experiment with, and I figured that having one more linkable platform back to my blog/photo portfolio couldn’t hurt.
So I started up a few photography related boards, some pretty obviously self-serving, like my Photography-Events board (which I realize is supremely lame with only one pin), but quickly spent more time on others that I thought other people interested in photography and camera gizmos might be interested in (Photography Tech, Tools and Trends). As interests have a way of spreading online, I soon found the need for a board on Drones. Then Robots. Then what I christened, Future Humans as a place to put stuff that wasn’t just purely about robots. And what about staying healthy (The Healthy Living Project)? Or my interest in world-changing organizations that focus on making the world a better place for girls #GIRLPOWER? Or Startups and Tech?
One Pinboard led to another a before I knew it, I’d added the Pin button to my browser to make it easier to feed my addiction, and not long afterward, downloaded the app so I could Pin to my hearts abandon when sitting in airports (happens to be one of my favourite times to Pin) or am otherwise idle.
The habit has now fully taken hold of me. It satisfies my internet-enabled neurosis of losing a piece of information that I might one day find useful, and it’s kind of fun. Even if it’s not that cool. I’ve tried, in vain, to interest my few fishing friends to join my Fishing board to no avail.
But if you are curious, I recommend giving it a spin. Need some help on getting started? Check out my board on Productivity and GTD. And don’t forget to breathe and stay happy (How to Be Happy).
Want to join the fun or are equally addicted? Come find me under my Pinterest user name: kaleidoscopium
This post is just a simple resource for clients who want to download the images of their event. I am a fan of Photoshelter, the site that hosts my portfolio and have been using them for several years, but their instructions are not always as clear as they could be for delivering images to clients. Hopefully this brief guide will help.
Step 1: Open the email you’ve received. Take note of the password (which is case sensitive) as you may need it to view your photos and will certainly need it to download them. The email you receive will look something like this:
Email with link to photo gallery
Note that the images shown are only thumbnails and by default are shown in a square format but your final images will show in their original dimensions.
Step 2: Click on the link in the email.
Step 3: Review the images by scrolling through the page(s). There may be several pages of images so be sure you look through them all. From this screen you can download all or a select batch of your images using the download button shown here:
Downloading your images
Step 3: Once you click the Download button a window will pop up providing you with the option to select all or some of the images. In almost all cases I would recommend you download the full set of images to ensure you have your own copy of the original files. Click Continue.
Select your images
I recommend you download all the images
Step 4: Choose the resolution you want for the files. Image resolution on my site is determined by fixed ratios indicated in the drop down window. Again, I recommend full resolution / original file, as this gives you the option to use the images for prints. If you know for certain the images will only ever be used in web format you can download the smaller JPEG sizes (600 px). The number shown indicates the long size of the image downloaded.
Step 5: The next screen will show you a link. Click on the link and your download will commence immediately.
Step 6: Wait for the images to download. They will download as a zip file, which is a format used to save size on the download.
Step 7: Locate your downloaded zip file. It will appear in the downloads folder on your computer.
Look for your downloaded zip file
Step 8: Once you have files downloaded, and have located the zip file, double click on it and then move the new folder generated to wherever you want to save the folder. I would recommend you save it in at least two separate hard drives as well as one online cloud based service like a Dropbox or Google Drive.
Locate and double click on your zipped folder
The zipped folder will now look and act like a regular folder:
Step 9: You’re done. Your photos have now been downloaded.
If ever there was a time to gather up your team, hold a meeting and host an event in Montreal, 2016 is it.
I think the screenshot from today’s FX rate pretty much sums it up.
In Canada (Donald Trump’s views notwithstanding) we are not so different from America. Except everything is much cheaper. Venues, staffing, catering, and going out to really world-class restaurants is all almost 50% off for US currency holders right now.Flights into Montreal are inexpensive and only a short-haul from New York or Chicago.
Winter, too, while perhaps colder than some of you are used to, has its own kind of beauty and is fun to experience.
Fun with snow
Montreal has it all. Great restaurants, hugely talented professionals to work with, gorgeous venues, old world charm, beautiful people, and a lively night life scene. You can be virtually guaranteed a good experience travelling here, and your guests or event attendees will be grateful for the opportunity you’ve provided for them to visit one of the oldest cities in North America. If you need help finding a venue, or just want to sound out a friendly local, feel free to contact me anytime.
Over the holidays I was hired to be a stalker. I said yes.
Before you jump to conclusions, allow me to explain the context. I was approached by email from a man living outside of Montreal, who was planning to take his girlfriend to Montreal for a romantic weekend, and propose to her. He wanted me to photograph the proposal without being noticed by his girlfriend. I thought it was a fun idea and accepted the challenge. It was a lot of fun and I think will make for a good story the couple (she said yes) can tell at their wedding and hopefully one day to their children.
I often get asked if I cover weddings and work with couples doing things like engagement shoots. Because I am known primarily as an event and conference photographer, and mainly market those services, I understand why people don’t assume I cover weddings as well. There used to be a stigma attached to covering weddings – as if being a wedding photographer was some how a step down in being a professional photographer. I’ve never felt that way and have covered roughly forty weddings in my career, but keeping a wedding photography business and a more corporate and event photography business separate made sense. Of course, by splitting up the two businesses the effort to promote each is duplicated and in the past few years I’ve skewed much more heavily to working with corporate clients and conference organizers at the expense of my wedding photography business. All that to say, I was thrilled to have the chance to work on this stealth assignment because it’s exactly the kind of work I like to do. It’s creative It’s challenging. It’s fun and romantic. And good old-fashioned romance is fun to see and be a part of.
My client had several ideas to begin with and over a few Skype calls and emails we laid out a plan together. Using Google Maps to scout out locations, we chose a route that would lead the couple out of the Hotel Nelligan in Old Montreal where they were staying, through Old Montreal along St.Paul street down to the Old Port.
Walking route to clock tower from Hotel Nelligan
I would be set up in the hotel, start shooting from a distance there and then follow them on their walk down to a designated place at the water’s edge with a view to the clock tower where I was to approach them mid-selfie and offer to take their photo for them, at which point my client would smile and the cat would be out of the bag. With just a few on-the-fly adjustments, it worked out perfectly.
At the Hotel Nelligan, where it began, I realized that there was not one, but three potential lobby areas (one being the restaurant). A special shout out to the Hotel Nelligan staff at Verses who were supremely helpful and on board with the plan once I explained it to them. I asked them to direct the couple to a table by the window while I set up on a table for one, two tables over. Alas, I realized that perhaps the couple wouldn’t come in here at all but might just sit in the lobby which proved to be true after a few frantic texts with my client. Luckily I was able to get out and set up in the lobby in time before their arrival.
Right on schedule, they came down and he made an excuse to return to the room where he had other plans afoot. I grabbed a few shots of his girlfriend, but feeling I was way too exposed, exited the hotel and went across the street into a store from which I could watch the front door without being seen.
Let’s take a walk
They emerged a few moments later and we began the dance. Every now and then they’d pause for a couple selfie and I’d snap off a few shots pretending to be a tourist taking pictures of buildings. Luckily Old Montreal is full of camera touting tourists, especially around Christmas time, so I didn’t look that out of place. I tried to keep a safe distance, sometimes dogging them from across the street, other times falling in behind them or running ahead to get in front of them on their side of the street, shooting from whatever angle I could find that didn’t make me stand out too obviously.
The plan unfolded perfectly in the crowded streets but as the path they chose led them closer to the water there were fewer and fewer people on the same route till eventually it was really just me and them.I hung back and pretended to read the signs and stare out at the action in the port while letting them get ahead to the targeted intervention point.
No I am not a real stalker
The adventure begins…
Walking on St Paul Street
Smile for the camera(s)
Trying not to look like I am following them
She still doesn’t know
There is literally no one else around but us-awkward!
Wait, what’s this in my pocket?
Is this a ring?
She still doesn’t know who I am
I think he is…
Going for it!
Will you marry me?
She said yes!
Yes, I am in on the plan
Finally I can ask them to look right at me!
The return journey
En route to hotel
Climbed up for a view
Dec 26 – no snow
But getting a little chilly
Almost back at the hotel
Love this alley
Still love this alley
Back at the room
She said yes
The caper proved successful and post-selfie assistance shot, I revealed myself as planned and we continued walking together, stopping at picturesque spots along the way, as we came across them. The final leg brought us back to the hotel where we took a few more shots in the lobby, then headed up to their room where my client had strewn the floor and bed with rose petals where we snapped a final shot and I left them.
As I drove home I was inspired by the idea and felt this is something more couples might want to consider. Montreal deserves its reputation as a romantic city, and there are plenty of interesting streets to wander and suitably romantic backdrops to make for some fun photos that will nicely augment your wedding book.
Girl flying over flowers with fairies or butterflies
Working as a photographer sometimes feels like having a secret superpower. You get to blend into rooms and become invisible. You stand apart from the crowd, rather than being a part of it. And your work is to look at humans as they interact and go about their lives. You are a professional observer.
Big Red Heart
In my life, somehow becoming a photographer was the natural thing to do, bringing together my myriad interests in anthropology, art, story telling, culture and languages, and above all else, the human condition. After fifteen years on the job, I am still amazed that I can manage to survive on my trade, and that people will pay me to do what I do. Because really what I am very good at is looking at people and seeing them almost with an X-ray vision. After working at hundreds of events and taken hundreds of thousands of images of people being people, I have an intuitive sense of a person’s nature and can see through them in a way that is wholly a gift of practicing photography for so long. And what I have observed most often, is that almost all people all want to feel a connection to others, and everyone looks better when they smile – and the two are deeply related.
It may be simplistic, but I think that the recognition we feel when another person smiles at us, and shows an interest in who we are, however brief the interaction, is what we all live for. As a photographer, I have observed people from all walks of life, from the super rich to the homeless, hyper-connected successful professionals to intellectually challenged autistic individuals who may never have a “real” job. I’ve witnessed marriages in every major faith of the world, as well as the many variations of love and spirituality that people have today that do not fit categorically into any one religion. CEOs, white collar workers, blue collar workers, parents, children, singletons, newlyweds, doctors, lawyers, students, soldiers, homeless men, investment bankers, and artists. It doesn’t matter who you are, what you do, how much money you have or don’t have, where you live, what you wear, what kind of shape you are in, what your hair looks like, or whether you have hair or not. It doesn’t matter if you are overweight or anorexic, tall, short, or in-between. What you really want – what you need – is to connect with another, feel accepted, feel appreciated, and to give the same to others around you.
So for what it is worth, I would say this to anyone who’s still with me this far down the page: in 2016, smile more often, not just because someone is taking your picture. Pay attention to the person you are with. Listen to their answers when you ask a question about them. And know that everyone struggles with something sometime, that no matter the appearances, deep down inside, we’re really not so different from one another. Most of us don’t need more stuff in our lives. What we need is more patience, love, acceptance and peace. And mostly, we need each other.
Many creative people have ideas but much fewer have the organizational ability to turn their ideas into reality. Successful entrepreneurs do, and working with one is always a rewarding experience.
I’ve recently begun working with Simon Tooley, the founder of a luxury skincare boutique in Montreal, Etiket, with very niche, high-end fragrances, beauty and specialty hair care products. A former VP for Anne Klein and Michael Kors Canada, Simon has a wealth of knowledge about building successful fashion brands, and he also intuitively gets marketing.
With product names like Penhaligon’s No. 33 (luxury grooming and skin care product for men) and Mona di Orio perfumes, the experience of being inside the Etiket boutique is one of being comfortably ensconced in a discreetly packaged, elegantly placed, vial of opulence. It is as close to shopping on a London High Street as you can get in Montreal. You are courteously attended to upon arrival, and will leave feeling well-pampered.
But how do you reach the customers who crave your high-end goods but aren’t able to make it in to your street-front store? You bring the boutique online, of course, which is the other side of Etiket’s thriving business. And as any tech entrepreneur knows, the online experience is brought to life by intuitive design, a focus on user experience and strong visuals.
One of the tactics Etiket uses to connect with and reward its customers is a subscriber based email marketing program, featuring a themed monthly emailer focusing on a few targeted products from the shop.December is all about the Art of Giving, as you might suspect and customized, product photography is an integral part of both the emailer and website.
Generic product photography might not get you wild with excitement, but if you are managing any kind of inventory and competing in a very challenged retail environment, customizing your product photography can give you an edge over your less aesthetically minded competitors. Consider creating use-case presentations of a few of your top sellers, placing the products not simply against a seamless white background, but in contexts that reflect how and where they will be used by your target customer. Like all marketing, it costs more than doing nothing, but the uplift in sales is measurable and should quickly prove the value of developing your own customized imagery to promote your site, store and brand rather than relying on the product photography given to you by your supplier that will look the same on your site as it does on every other retailer’s carrying the same product line.
In a world where everyone is fighting for a minute share of increasingly fragmented attention spans, any touchpoint you can create between your brand and your customers creates a connection that can help you prove your value and ultimately drive sales. Though now nearly twenty years old as a concept, a targeted email-subscriber list built by creating thoughtful and useful emails that are relevant and visually appealing is still a highly effective way of reaching your customers. Creative, customized photography can significantly raise the engagement rates you are aiming for with each send.
If you decide that 2016 is the year you improve or launch your email marketing plan, be sure to focus on content that tells your unique story to create that meaningful connection with your customers. Using a thoughtful combination of design, text and curated, hand-crafted imagery will help you get higher open rates, and ultimately, a lift in sales from your efforts.
I read an article this morning by Adam Karnacz in Vantage (on Medium), called Removing People with Long Exposure, in which he described the technique he uses to disappear people from photos at sites where it is impossible to otherwise get a clear shot. Places like St. Peters in Rome, Stonehenge or any major tourist attraction. It’s a simple trick which I also discovered myself recently while visiting Berlin. I was at the East Side Gallery, a 1.7 km long section of the Berlin Wall left standing and completely painted over by artists after the wall came down on November 9, 1989. I had wanted to visit it the first time I was in Berlin two years ago, but ran out of time. Even this visit was rushed, arriving by cab at the end of the day just as the sun was setting. In addition to the dim lighting, there was a metal fence up in front of a large portion of the east-facing wall, erected by the city of Berlin just that day for temporary cleaning of the site. But even at this later time of day there were crowds of people milling by, congregating around the most recognizable sections of the gallery.
I did not have a tripod, as I rarely travel with one since the time I almost missed a flight leaving the Canary Islands because my tripod needed to be checked by security. It is cumbersome to travel with one anyway, but I’ve found a makeshift one can be found by using what you find in your surroundings. A pole to lean the body of the camera on one side works well, or the top of a car or nearby mailbox. A garbage can will work in a pinch, depending on how recently it was emptied out.
I set my camera to shoot high dynamic range (HDR) (which means the camera takes three shots in succession at three different exposures, one under, one correct, and one over-exposure, then merges the three images into one). Shooting HDR requires very static subjects, otherwise the merged images don’t match up and you get strange, electric looking outlines. However, an unexpected advantage I discovered was that if you shoot HDR where something is moving in front of your static subject, i.e., people walking, you get a beautiful shot of your subject and the people either blur right out of the picture or add a surreal, ghostlike effect, showing the traces of humans but nothing recognizable. (See some of my photos of Berlin’s East Side Gallery here)
I thought the effect worked particularly well in some of the shots of got of the East Side Gallery.
As darkness fell, I switched over to using longer exposures, but this time pointed my lens to take in a bit of the road to capture oncoming traffic to create some random light paintings with headlights next to the wall imagery. I liked the effect in these shots as well.
And then there was this final image, which had nothing to do with the wall but was in one of the cars parked right in front of it that I was using as my makeshift tripod. Somehow seems to perfectly capture the quirky, captivating, energy that Berlin emanates and is maybe one of my favourite photos I’ve ever taken.
Like most people I know, I learn things the hard way. Although I should have known better, a few years ago I lost a hard drive that just died on me for no reason, taking with it to its cold cybery grave, a passel of unbacked up images that no one will ever see again. It was a heavy blow at the time, as it contained some of my best work as a wedding photographer, and a huge collection of creative work I’d done over the years prior. But it had one positive result: it taught me the vital importance of backing up my work.
Since then, I’ve adopted the habit of backing up everything I do in triplicate (two separate hard drives, and one on the cloud). I don’t do it with every single image I produce, but once I’ve curated the set, I do it for the ones I want to keep. With the exception of my personal family photos and videos which I indiscriminately keep all of, around this time of year I do a big purge. As a busy conference and event photographer, I accumulate a lot of digital detritus just doing my job. While my clients want to see the full set of images I shot for them, once the event has come and gone, there is no reason for me to keep the majority of the images I’ve shot. There are only so many photos of an engaged audience looking up at a speaker that I need in my portfolio to prove I can capture the energy and excitement in a room. After the 30th conference of the year, I have to admit that the rooms all start to look the same, and the faces tend to blur into one another. Hence the need for the purge.
It’s hard going at first, but once I get into the flow of it, it starts to feel really good, as most decluttering sessions do. I’m currently still using Aperture (though plan to switch over to Lightroom in 2016 now that Apple has abandoned its pro software in favour of its new Photos), but what I find particularly useful for purge sessions – or curation sessions if you want to use a prettier word – is an old version of Adobe’s Bridge that I have. I like the way you can copy, move or trash a lot of files at once, and visually assess their quality from a grid perspective with ease. But regardless of the tool you use, the key to an effective photo library cleansing session is to not get too attached to any one image and really be brutal in selecting only the very best. There is just no need to save everything. The world is awash in images, (an estimated 80 million photos are posted on Instagram alone – daily!)
If you are facing a mountain of unsorted image across multiple devices, the digital equivalent of an office with folders strewn across the floor you have to thread your way through to reach the door, I understand your reticence in dealing with this task. It is easier to just buy more space, add a new hard drive, dump everything in there and move on. But it’s not what I would recommend. For one thing, doing so just kicks the problem down the road. No matter how much digital storage space you acquire, you will still be at risk of one or more of the drives failing (and if they contain disorganized files, you won’t even know what you’ve lost). But even more importantly, if you don’t take the time to review what you already have – whether you are a professional photographer, amateur or just camera happy mom and dad clicking away at every second of your child’s life, you won’t ever really get any enjoyment from the images. And what’s the point of a picture locked away on a hard drive that no one ever looks at?
As with any big task, my suggestion is to break it down into bite-sized chunks. If you work on multiple devices, start with the one you use most often. Put all the images in one place. Then break that down further, either folder by folder, or by date, or some other logical system that you can start and stop at, picking up the next time where you left off. Getting started is the hardest part. Once you move past your current state of inertia, you’ll get more efficient at doing it, and the mountain will chip away, one gigabyte at a time until you’ve got a neat little set of images, properly ordered, that you can then save on at least two hard drives, and pump up a copy to whatever cloud storage service you use (I like Dropbox, but there are several to choose from like Google Drive, or even your own hosted server).
2016 is around the corner, and it will be full of new events, new people and places to photograph and another 500+ gigabytes of image files (if you’re a professional photographer). Don’t wait until you lose a year or more’s worth of images before getting organized and backing up your work.
I was shooting an event in Toronto last week of an award dinner / fundraiser at a ritzy hotel with several very high-profile attendees. It was a fairly typical event, the kind I’ve covered hundreds of times before, with a pre-dinner cocktail hour in the lobby area of the reception hall where guest agglomerated over drinks and canapés, chit chatting and catching up with each other as they waited for the main doors to open up. The lighting was subdued, the bars mirrored. The men wore suits and ties, the women elegant evening gowns. 450 guests were there, each having paid a handsome price for the ticket with over 20 fully sponsored tables of ten. It was an important event for the organizer, with an important group of patrons and having covered events for this client in the past in Montreal, I was happy to have been invited to cover this one in Toronto as well. Clearly they liked my work I thought, and realized that having an experienced hand at working these kind of high-society events yields the right kind of images for their purposes.
That’s why I was quite taken aback when I was chatting with one of the client team members (albeit not the one who hired me) when she asked, quite genuinely, “Is there really that much of a difference between event photographers?”. We were standing in the main hall looking out through the doors at the thickening crowd of mostly dark suited men gnoshing on smoked salmon and quaffing glasses of white wine when she asked. “Well, yes, I think so.” I responded, trying not to sound defensive or overly surprised at the query.
And the truth is, I shouldn’t be because though I don’t often hear it, I do experience the effects of that sort of thinking often. When you work, as I do, in a highly competitive field where the barrier to entry is low, and the perceived value of your service, under appreciated, this attitude translates into many behaviours clients and prospective clients exhibit such as:
Brief (one or two liner) email queries asking for a price based on loosely defined schedules for upcoming events, usually in the very near or immediate future
Requests for detailed quotes based on unspecific requirements
Refusals to acknowledge or present a realistic budget
Assumptions that your price is always negotiable
Discussions focused on price rather than value
Focus on detailed shot requirements rather than discussion on what the purpose and end use of the images will be
Assumptions that all photographers also provide video coverage at the same time for the same price
Part of this is due to the ubiquity of photography today and the near infinite demand for constant content feeds through a warren of social media networks. This ubiquity is both a blessing and a curse, as it proves that there is a near constant need for photography, but there is also a decreasing respect afforded to professional practitioners and a widespread belief, exemplified by the leading question of this post, that the service is a commodity, photographers by and large undifferentiated from one another and consequently, price takers in the economic relationship between client and provider.
But then, what is the mark of a good professional photographer worth the fee being asked and one who will work for any budget (or none) and claim to offer the same service?
The answer I think comes down to a blend of factors that some clients get instantly, and others will never really get.
A good photographer covering an event will do so in a manner that does not cause guests to feel uncomfortable or hold awkward smiles or poses for long. The images will be well-lit, attention given to background, colours and flattering angles for all manner of the shapes and sizes that humans come in. He or she will take the time to understand the event, the importance of key attendees, and if working with a brand, the brand values and personality, to ensure not only their images, but also their behaviour is consonant with the client’s. The photos delivered will also be well-organized, easily accessible, rapidly turned around, and the transactional details of the contract conducted professionally and with respect to the client’s needs and internal processes. And the photographer will still be there after the event is over and the bill paid, to respond to any additional needs that may come up and of course, to serve again on future events having now established him or herself as a known quantity which eliminates at least one element of potential concern in the many moving parts that comprise event coordination, planning and execution.
Hiring experienced professionals may appear to cost more than hiring newbies, but is the same value being provided by both? If you think that indeed, there really is no difference, than the cheapest option makes the most sense. More experienced providers who are able to offer premium level service cost more. Many clients may be satisfied with less, and that’s perfectly okay.
Some, however, realize that talent is worth paying for.
While professional photographers like me can still work with fish eye lenses, or high-priced spherical cameras (and you can hire me to shoot your venue for you), you can get pretty decent quality photospheres (as Google calls these panoramic images sewn seamlessly together) using just your smartphone and Google’s Streetview App on Android or for your iPhone.
Here’s what you need to do:
Download the app.
Review the Tips section of the app
To get good results you’ll need a little bit of practice. Try starting outdoors (once you get the hang of it you can try an indoor space but it’s easier to get it right outdoors on the first try).
Also remember to hold the phone close to your face and shoot vertically
Finally, be sure you shoot a complete set of images rotating in a circle several times to cover a full sphere
Once you’ve created your photosphere you can save it to your camera roll and then decide if you want to publish it directly to Google Maps. The default option is set to private so you don’t have to worry if you don’t like the look of your photosphere or captured any indiscreet imagery you do not want to make public.
Currently photospheres contributed to Google Maps this way lack the connectivity that professionals in the Trusted Photographer Program can enable using an access restricted photosphere editor. If you want to offer a full virtual tour your site visitors can virtually walk through you’ll still want to work with a professional, but if you are just looking for the free option that provides good value and showcases your interior or exterior spaces in its full 360° splendour, then download the app and give it a whirl.
Something about the way a photograph seems to mimic the way we see the world burdens it with the weight of expectations. While we would never assume a painter produces anything but a work of art when painting a picture – no matter how realistic – the opposite is true of photographers. The prevailing assumption is that the work produced is without artistry, a mere “mechanical” process of pointing a lens and pressing a button positioning the photographer as a documentarian, a human tripod supporting the image capture system that is a camera which today can be anything from a phone to a flying drone in the sky.
I was out with a few teenagers the other day who took some amazing photos with their phones. They were completely nonchalant about it. “Anyone can take a picture. It’s nothing. It’s soooooo easy.” And it’s true. Anyone really can do it and it is really easy to do. This democratization of photography has always been feared a little by professionals who feel their world shrinking as it grows exponentially for others who can now do what was once reserved for someone with expensive and specialized equipment and a knowledge of chemicals and light.
I see you
But to fear the progress of technology in any field is to cease trying to adapt to it, and imagine new uses for it. I think those photographers who bemoan the ubiquity of cameras today in all their myriad forms and pronounce on the demise of photographers maybe really were just mechanics, pressing buttons and not deploying any creativity in their image making. Their prognostication on the death of photography is a self-fulfilling prophecy. If you can’t embrace technological disruption in your industry and have the flexibility and adaptability to learn how you can repurpose what you do in the changed context that disruption has created, then you are on the way out.
If, on the other hand, you look at this digital age as an age of wonder then the future is truly boundless and limitless. Yes in some ways it is more expensive and time consuming – there are new tools to learn and gain expertise with, new skills and languages to master. But what profession today is immune from the same forces? Does a doctor dread the discovery of a new drug or surgical technique that renders the old one obsolete because the new one offers a much higher survival rate? Does the architect bemoan the use of building imaging technology that lets them see in three dimensions where the pipes and electrical will flow because it diminishes the value of a hand drawn blue print?
Anyone who is uncomfortable adjusting to the change technological innovations wreak on their profession is accepting a path towards obsolescence as their future instead of one of continual growth, learning and discovery. Perhaps this is more common in photographers because, unlike many professions, they are a tribe of loners, independent practitioners. Maybe it is a function of having only one lens to look through, though perhaps in future even that will change (actually it already is), offering devices with multiple viewpoints capable of being operated by more than one photographer at once. This will draw in different personality types to the trade, and I think this is partly what is going on today.
New technology attracts different kinds of people. The teenage girl in love with taking selfies of herself may not ever have been interested in landscape photography, but now she’s got a handy tool to explore her passion for her own image. The drone operators creating stunning aerial views of their worlds may not be the same kind of personality as the event photographer smiling and blending into a crowded room of people gnoshing on hors d’oevres and quaffing red wine, and that’s the point. The new technologies in photography today are creating new breeds of photographers who probably don’t identify themselves strictly as photographers.A modern photographer is no longer one thing. And this, I think, is what some photographers recoil frombut also what makes photography great.It is a tool for creativity and the more creativity we can unleash in the world, the better.
Photography is constantly changing. New technology brings new adopters of that technology and scares away those who resist change or can’t adapt as quickly, but whatever your particular stance towards change, the future of photography is bright and full of limitless possibilities for those who embrace everything it is – and will be – capable of doing.
I’ve attended a lot of digital marketing conferences recently, and noticed that a type of fatigue sets in to the hard core road warriors who fly from city to city, and conference to conference. While the topics change and conference organizers work hard to bring interesting and useful content to their attendees, inevitably an example used in one presentation on brands doing it right (think: Dove’s Campaign for Real Beauty) pops up in another, or a deep dive on one topic (It’s all about moment marketing! It’s all about micro-moment marketing!) is unfortunately only a buzzword apart from another session they’ve just attended. Attention sags with heads at tables as the attendee half pays attention to what’s being said while Snapchatting with one hand and answering a deluge of work emails with the other.
Even those paid to attend and be attentive can only stretch their minds so far around another insight into the benefits of programmatic media buying, a topic they’ve heard discussed ad nauseum (particularly if it happens to be an early morning session) even if opinions diverge on how best to deploy it.
And yet, I see the same faces from one event to the next, and hear tales of other events people don’t think they’ll ever return to. So what keeps them coming back? What makes an event so memorable and worthwhile it engenders a kind of tribal loyalty that other events fail to elicit, though marketed to the same core group?
In my observation as a photographer and someone professionally required to look at people and intuit their emotional states, I think the “secret sauce” of a conference that wins people’s hearts and minds is how it makes them feel.
While content is still the reigning monarch of the internet and a central theme at gatherings of marketing people discussing it, just getting content right is not going to win over the road weary, besieged brand manager with more money to spend than energy for another vendor’s kick at the can. Buyers, people with budget and the decision making power to pull the trigger on test spends and innovative new technologies, are always going to be high in demand wherever they are.Winning them over takes more than delivering a slick presentation, and beautiful infographics showing massive growth and uplift achieved on campaigns – even if it comes served with a mimosa.
Don’t try this at home
What keeps people coming and makes them feel a little sad to leave behind, is the feeling they get when they are there. A feeling that you are with your people. You have found your tribe. You will get into conversations that stimulate your mind, and motivate you to do and be more. You’ll stay up too late and experience life illuminated only by outdoor firepits and empty glasses and you won’t be tired. You may even learn to walk on fire if you’re really, ahem, fired up.
Being with like-minded people, who want to talk together, drink together, laugh, joke and create something together around a fire is really about as primal as it gets. And it works. Yes a beautiful resort location helps, and yes, balmy eternal-summer evenings don’t hurt. Yes, the agenda has to be well structured and yes the presenters have to be engaging and smart, but in the end, what keeps people coming long after their biology suggests they should still be on their feet, is that warm feeling inside when you realize you are right where you belong.
Achieve that with your next conference and you’ll soon find you need a bigger venue.
At least in the beginning. Whether you’re launching a new blog, posting something on social media or making a big public announcement, don’t be blinded by likes or other vanity metrics. The truth is that most people spend a lot less time thinking about you than you think they do.
Respect the truly narrow and limited bandwidth you have for most people’s attention. Many people assume they have an “information highway” when in fact that road is pencil thin and getting thinner.
The best way to get attention is not to seek it at all.
Instead, set high standards for yourself and try to exceed them. Do the work every day that you need to do and keep putting it out there. Some of what you do will fall flat on its face even when you think it’s your best work, and other things you do may resonate deeply and widely across a broad spectrum of people, even if you don’t think it’s anything special.
Most people are not very good judges of their own work. One of the ways to get better at it is to make a clear and distinct break between the creation of the work and the editing. As a photographer I know this intimately. The hardest part of what I do is reviewing my images after the shoot is over and trying to cull it down to a tight selection of truly great images. My initial reaction is always too negative, so I like to put a pause between the work and the editing of the work, to let the images sink in a bit and give my brain time to forget the extraneous details. Rushing into the editing process too quickly after the creation phase is ineffective. The mental modes are different and different parts of your brain are engaged when you are being creative and responsive to your surroundings– which is a fundamental trait of a photographer – versus, trying to judge and select an image based on an explicit or implicit set of criteria for what makes a good image. When I am shooting I sometimes naturally discover a perfect composition that I would be hard-pressed to really articulate and have an even harder time trying to create in advance. Similarly, when I am reviewing my work after a period of inattention to it, I find I am able to see patterns and compositions that work that I was unaware of during the image creation phase. Without time between creation and curation, I am much less able to discern these qualities.You need to get above the work in order to see it for what it is.
But even once you’ve done your best job editing and curating, ruthlessly stripping away the unnecessary and leaving behind just enough to showcase the flowers, you shouldn’t expect much. The most common response to putting something out into the world is silence.
But that silence shouldn’t be interpreted wholly as indifference. It may well be, of course, but it may also be that whatever it is you’ve done hasn’t been discovered by the person for whom it is exactly perfectly made for. Or it may be that your work is perfect but not in sync with the times, or the mood, or most probably it’s because attention is the scarcest available resource in a digital age, and what attracts it initially is not always the best work. In fact, the most attention drawing things online usually are ones that require the least effort on the part of the attention giver. Think Kim Kardashian’s butt selfies vs EU’s immigration policy reviews.
Digital experiences aimed at garnering the most attention are like sparklers. They create a sense of excitement and are hard not to look at, but they don’t last very long. Conversely, building something of value that takes time and comprises real sustained effort – whether that’s a company, a novel, a well thought out experience – is like adding a tiny little star to the universe. It may be just one among millions, but its part of something beautiful and who hasn’t wished upon a star at least once in their lives?
I’d rather be the kind of creator whose work takes on more meaning over time. I’d rather create things that connect to others because they experience a sense of discovery, recognition, maybe joy or something else that matters to them personally than simply aiming to light a bigger and more sparklier sparkler.
Seth Godin presenting at the Cisco Partner Summit 2015 in Montreal
Conference and trade-show photography covers a wide spectrum of photographic specialities and serves a few different purposes.
A conference and trade-show photographer can reasonably be expected to:
Cover all onstage action from a few different angles. Good lighting is important as speakers can often get washed out or take on a yellow or orangey cast from the stage lights if not adjusted for. As well you should expect to get shots from the back of the room, as well as both sides, wide and close shots, and a few from the speakers point of view showing the room, preferably filled with a rapt audience.
A couple of posed shots of speakers at podiums or in front of their branded presentation on-screen
Candid, “pick-up” shots of attendees doing what they came there to do: meeting people, shaking hands, networking and socializing
At trade-shows or scientific congresses where your exhibitors are presenting products or academic posters at least one shot of the booth with attendants, and one without for reference
Room and set-up “beauty” shots, particularly for any gala or VIP event
Signage, interior and exterior, for reference purposes and to provide proof and lift to any sponsoring entities involved
Provide all images with a standard usage licence that allows the client to use the images for their intended purposes (websites, promotions, emailers etc)
Add-ons that can be accommodated on special request would include:
Provision of a photobooth for any cocktail or evening activity
Drone flyover videos of your outdoor party or gatherings
A mobile studio set-up with seamless white or grey paper backdrops for headshots of attendees or key executives
Time-lapse images of rooms or in the case of trade shows, the set up, action and tear down of the booths
Shoutouts, Tweets, Instagrams, etc. using your conference provided hashtags and social media handles
Immediate turnaround on images – making at least highlight reels available for the next day to post during the conference and feed voracious social media channels
In terms of scheduling and availabilities:
Full day coverage, starting out before the conference opens straight through to the end of the last event. 12 hour days are not uncommon and since conference attendees tend to work hard during the day and socialize at night, your photographer should be there to capture all the action wherever and whenever it happens
What shouldn’t be expected is:
Free headshots for guests – if your photographer agrees to do it, that’s fine, but a lot of “Hey buddy, I need a new LinkedIn profile shot” requests to just grab a quick headshots isn’t really appropriate
Accommodation to unbudgeted big scope change requests or bringing in a mobile studio after the contract is concluded
Supernatural knowledge of schedule changes – if your main event is shifted to another room or there are key aspects of a particular presentation (like the handing out of awards) that you want shots of, be sure to communicate what you need clearly with your shooter before the event happens
Photo and video coverage of the same event at the same time without budgeting for the necessary resources
The best thing to do when looking for a conference or trade show photographer is be up -front with your requirements, have a fair budget available for the hours you need coverage for and communicate the schedule clearly. Hourly and daily rates can vary considerably depending on the city your event takes place in. Familiarize yourself with the going rates in your destination before setting expectations based on other markets and once you’ve agreed to a contract, expect to pay a deposit or at least be on the hook for one should you be required to cancel for whatever reason before the event takes place. As in any skilled trade, you will find a range of providers with a range of pricing. Caveat emptor!
I was recently hired to create the photos for a company website relaunch project. The creative briefing involved meeting with the marketing director and general manager, reviewing the look book provided by their web designers and brainstorming on what we could do to make the portraits and products look interesting, authentic and fresh in line with the new look planned for the site.
Decommissioned manufacturing site near Montreal
The look we were trying to achieve was industrial, showing real people in contexts related to the nature of the work they do (manufacturing and refurbishing various barrels, pails, buckets, oil drums and related myriad accessories). We immediately discussed shooting the portraits in a second factory location currently in the process of being dismantled. As the decommissioning of our shooting location was active, we needed to move quickly from planning to shooting to ensure there would still be machinery and interesting materials to work with to create our setups.
I visited the factory location a day before shooting day to scope out some locations. I wandered through the furnace where once steel oil drums were burnished and formed, along rails they used to roll along that passed in front of a paint room with walls Jackson Pollack would envy, letting visual ideas come to me as I wandered. In the central area workers were cutting through large machines to be hauled off for scrap, their arc welders casting off sprays of sparks like oversized sparklers on a birthday cake. The floor was covered in dust and tracks from various vehicles and dollies had criss-crossed it leaving patterns like you’d see on a road of recently fallen snow.
Gears and valves
The painted room
On shooting day, I arrived early and created three set-ups: one by a stack of wonderfully aged and multi-coloured palettes; another in a room with a vast collection of black standing oil drums waiting for their final delivery; and a third in the furnace room before a gnarly, beast of a machine with pipes and vents protruding from it like a patient on life support.
The subjects, real people, not models, some of whom clearly had not had much, if any, experience with a professional photographer, arrived in time slots, 5 at a time. I decided to try to shoot each in a slight different spot, giving each a unique portrait that would all be thematically linked and visually consistent, but different enough to convey a sense of the uniqueness of each individual.
Contextual portraits – real people, onsite, and in simple mobile studio setups
It went exceedingly well, and both my client and I was pleased with the results. I realized that a big part of the success of this shoot was having the leeway from the client to be creative and have fun with the shoot, within the framework agreed to ahead of time. As well, the subjects themselves, initially a little nervous and awkward soon found themselves enjoying the experience and contributing ideas for setups and locations that improved the final images.
And all of it was done within a few productive days. No long lead up or series of creativity-sapping meetings, no layers of approvals or complicated lighting setups. We worked with what we had, in an authentic environment marked by time and delivered a set of unique portraits that will breathe new life into the forthcoming website, a far cry above the standard, dull, headshot-against-seamless-white background that everyone has seen thousands of time.
The difference really, was this shoot started with an idea we collaborated on – photographer, client and subjects – to create something together.
Image of girl looking at negatives from old 8×10 camera
Yesterday I went to a funeral, at the end of which we were invited to visit a slide show playing off to the side of the church. You’ve seen these before. They play at milestone events like weddings, 50th+ birthday celebrations and in their saddest iteration, funerals. It made me think about what those pictures really mean.
Why do we like to look at pictures? Why do we care?
Usually these slide shows are put together by someone close to the person, or for a wedding, the couple being married. They are often preceded by an email call out to friends and family asking if they’ve got any photos of the beloved(s) they can share. The end result is always a mishmash of photos taken over a span of years, with varying – usually fairly amateurish – photo quality. Overexposure, odd crops, off-colour and poor lighting are commonplace – and it doesn’t matter at all. You can almost always feel the full emotional impact of the image regardless of quality. In some case, too much quality actually diminishes the emotional power of the images. We expect professional looking photography when we see an ad or hire a portrait photographer to shoot the family portrait, but we mistrust it in the context of the real, old-fashioned slide show of your life.
Colour slides, the old fashioned kind
For a wedding, the typical formula is a series of baby images and fun kid shots of both the bride and groom, as they are growing up. Family vacation photos feature prominently. Usually around mid-way through, the couple meets and there are a smattering of images of the two together leading up to the present moment.There tends to be more text and jokey captions on the wedding reel and the end is always celebratory, a kind of big “To Be Continued” implied as the couple will presumably go on to fill out the rest of the slide show together as they live out their lives.
Birthday slide shows are looser, more jokey then the funerary genre but usually carrying an undertone of celebration and kind poking fun at the subject. Key images likely include at least one shot of the subject wearing a ridiculous hat, a few with Hawaiian shirts, and of course, as many as possible showing the subject making a fool of him or herself in various states of inebriation. This kind of slide show is there to fill in the time between speeches and dancing, or it loops while dinner is being served. It can be played with or without narration, depending on the setup in the party.
And finally, the end of life slide show. This one, of course, is the most emotionally riveting. There is something unbearably sad about looking at the smiling face of someonein full life who is now gone. And yet, I think these slide shows are also an important part of the grieving process and they help the bereaved to say goodbye properly. We want to hold on and the pictures we have of the people we love and have loved throughout our life help us to do it. Like slowly letting go of a hand, these final images are there to tell us that the person we loved, lived a full and happy life that we were a part of. These may be the photos that matter the most to anyone. The images you would run into a burning building to save. They matter to us because the person or the people in them matter to us. And while nothing replaces the living presence of another, a photo saturated with love and seared into memory by a deep emotional connection, matters.Not just to help us deal with the loss of our loved one, but also to push us back into living life.
A life in slides
Because, in the end, a picture is always and inevitably a revision of a lived event. What really matters, of course, is the living. Experiencing each moment as fully as you can. Being mindful that this moment now, is really all you can ever hope for and to feel it and sense it and be in it as fully as you can. So while the photos we collect of our family and friends are treasures, the moments we share with them matter much, much more.
So put away your phone, take a break from updating your status on Facebook, look up and see who you are with. Then go out and make a moment that you’ll want to keep for the slide show of your life.
I recently purchased a Brinno TLC200 f/1.2 Time Lapse Camera to play around with to incorporate into my conference and tradeshow coverage photography gigs. There is a child-like fascination with watching time speed up, like the thrill you used to get pressing fast forward and play at the same time when watching an old VHS tape (if you’re old enough to remember what a VHS is, if not check here).
Here’s my first attempt, shot recently at one of my client’s offices while we were doing a corporate portrait session.
While I haven’t quite mastered it, I can see how this will be a useful tool to showcase construction projects, or intermittent flows of people moving to and from convention halls, or the setting up and tearing down of trade show booths. The cameras are quite inexpensive relative to most photography gear and I suspect I’ll be getting a few more to play around with.
I also serendipitously came across this article on Springwise (one of my sources for finding out about new products and innovations and really really good for slacking off a bit on a Friday afternoon) about a company using a time lapse camera kit to teach kids about wild life: Camera kit teaches kids about tech in nature which inspired this afternoon’s project, where I’ve set up my Brinno out on the deck to try to capture shots of the squirrels ravaging my garden.
I think it’s a fun camera to have in your kit as a pro, and equally fun for anyone who enjoys messing around with cameras. You could bring one on your next camping trip to document setting up your campsite, and finally have proof that in fact the bear beside your tent was really just your friend snoring. Happy trails!
How many business owners do you know who think they are doing enough marketing?
What if I told you there was a way to market your business using the world’s most powerful search engine that would ensure you have a visible presence online right where your customers will be looking for you? Tie that presence into the free analytics you can get out of Google Analytics and you’ve got your own digital marketing agency at less than your quarterly spend on coffee.
I’m talking about Google Business View, a remarkably poorly understood tool public facing businesses can use to boost their search rankings, attract more customers online and entice in new customers when they are conducting local based searches on their mobile phones.
See Inside – link to a virtual tour of The Monkland Taverne, by Julian Haber Photography 514.757.7657
All marketing today and into the future will be digital. It is already past time when we stop using the term “digital marketing” and simply refer to it as “marketing”. All businesses, whether you are selling pizza or complex financial derivative products, is about information. If no one can remember your phone number, no one orders the pizza. If they can’t understand what you are selling, they won’t buy it.
Having the correct information about your business that is easily accessible across the multiple devices people use hundreds of times every day is entry stakes for any business today.
How do people find your business? They search online, overwhelmingly using Google and the majority through a mobile, hand-held device. Gone are the days when having a website, or a Facebook page was something to proudly state “you were doing online marketing.” If you own a restaurant, a fitness club, a medical clinic, a hair salon or any kind of business that relies on people walking through your front door and you are not fully taking advantage of everything Google Business View now has to offer, you are leaving money on the table. And you may be slowly putting yourself out of business.
Here is an example of a search I just conducted on a business in my neighbourhood. Take a look at the huge amount of screen real estate dedicated to the right sidebar. That entire package of visually engaging information – virtual tour (See Inside), photos, direct link to Google Maps and reviews as well as the correct address and telephone number is what happens to a business that invests in its Google+Business Page.
You’ll see that though the Monkland Taverne company website is the top result, the vast majority of people on this page won’t visit that site.
Conduct the same search on a mobile phone and the results are even more striking. It fills the entire screen in your hand.
That second search, on the fly, on a mobile device, is where most people will be searching for your business
Google Business View is a virtual tour of the interior of your business. If you’ve just spent $50k on renovations, you want to be sure that as many potential customers as possible see your space. If you run a state-of-the art medical clinic, you want your potential customers to be able to visualize the environment and see the investment you’ve made in advanced medical devices. If you are a restaurateur, you want the visiting tourists walking down your street to find you on their phones when they feel a rumbling in their tummies and search for “family friendly restaurant – near me”.
The key to all of this is of course, investing the time and effort in understanding what Google Business View can do for your business, and then doing it.
You can start by Googling your own business (and this even includes service professionals and freelancers who may not have a public-facing office space, but still offer a service to the public) and see what comes up.
You’ll notice first that your search results on the right hand side of your desktop screen, or right in full view in your mobile device, point to a Google+ page. As a business owner, this site is yours for free and can be managed and exploited fully by you with just a little attention. Your customers who visit can also rate and review your business here, which provides even more attractive content for search engines to help lift your business higher in search rankings. Providing visually engaging materials here – photos and 360 degree panoramic tours of the interior spaces of your business will also give your business a huge lift and increase traffic to your online presence which will translate into increased traffic through your front door.
If you are a business owner and you think you don’t need to be found online, or that you already have enough customers, then I guess this post isn’t for you. I’d be surprised to find your business doing as well in one year, and in three years, with no change of marketing strategy, I doubt I’d find your business at all because it won’t likely exist, but hey, I could be wrong. Maybe digital marketing is “just a fad.”
But if you are like most business owners who are strapped for time and trying to manage their cash flow as best they possibly can while still putting a little profit into their own pockets at the end of each month, than I strongly encourage you to get your Google+ business page up to date and invest the small amount of time and money it will take to engage a photographer to shoot a virtual tour for you.
I chose the handle @ursomebody for my Instagram account after realizing that julianhaberphotography was too long. But that’s not the only reason – I also chose it because I believe that everyone is a somebody but not everyone believes that about themselves and I find that kind of sad.
I realized that the core of what I do – photograph people at work and at play – provides me with a unique position from which to observe humans in their sometimes unnatural habitats of gala parties and conferences, work parties, and social gatherings. From years of peering through my lenses at thousands of faces, I’ve honed my intuition and feel sometimes like I can see right into who someone is, just by the way they look when they don’t think anyone else is watching, or how they present themselves when they do. I feel this is one of the privileges of being a photographer and I am very grateful for the experience.
What I have observed countless times is the amount of discomfort and social anxiety many people feel that they do their best to hide. Reflecting on that, I came to the conclusion that main reason people feel awkward in social situations is because they harbour a sense of insecurity about themselves. They feel judged. They don’t think they are pretty. They think their clothes don’t fit them well. They think they are fat. They think they are too short. Too tall. Too skinny. Too ugly.
So they develop ways of hiding. They lean away from the photographer. They smirk rather than smile. They slouch, they turn their bodies defensively away from the lens. These gestures and subtle adjustments to posture and pose when facing a lens are not always conscious or deliberate. I believe, in fact, that most are unconscious. But to me it says that the person before me feels a kind of pain and I’ve learned that a big part of my job as a photographer of people at social and professional events is to make that pain disappear – however briefly. One easy way to do it is just by being kind and by recognizing that not everyone who is beautiful believes it about themselves, so I try to make them feel that they are. I think this is a valuable thing to learn to do for oneself as well.
We are somebodies
A few helpful things you can do if you are one of those people who doesn’t like the way they look or feels uncomfortable in front of a camera – and there are many others who feel just like you do – is to smile. Just the act of smiling opens up positive energy inside of you and actually improves your state of mind. And you instantly look much better, I can guarantee you that.
We are somebodies too
Deeper down, my wish is also for you to stop being so hard on yourself. I was once chastised (in a friendly way) by someone whose portrait I had taken for having slightly blended out a few small wrinkles in her face. I hadn’t really thought much about it as I try not to edit portraits very heavily and only allow myself slight interventions to enhance the natural beauty of the person I am photographing. But in this case, the woman – a mother of four – told me she was proud of her wrinkles and didn’t want them brushed away and I realized that she was absolutely right.
You’ve earned the face you have now. Be proud of who you are, how you look and what you can still give to the world.
Conference organizers know that a lot of planning goes into creating a program of interesting and relevant content and attracting a strong roster of speakers, panelists and breakout session leaders. Effort is usually spent creating a detailed shot list for photographers to make sure that nothing on the agenda is missed and the investment in hiring a professional shooter to cover the event pays off with a load of marketable images of attendees and conference activities to help promote next year’s event.
Conferences often pull together people from within and across organizations that are otherwise rarely all in one place at the same time, and this creates an opportunity for updated group photos, corporate headshots and bio pictures that is often overlooked by organizers with heads full of conference planning details.
Often the venue itself will provide interesting and useful on site backdrops and your photographer will also have the necessary lighting and equipment to set up a small mobile studio in one of the many spaces occupied by the conference. You’re paying for it already so why not leverage the space to either update your firm’s set of portraits or offer the service to your attendees as an added value for attending your event?
Everyone needs a headshot these days – something I’ve written extensively about in posts on personal branding and profile pictures – but organizing one can be a tedious task often dropped due to other more urgent priorities. If you can offer the service conveniently and quickly to attendees who are already on-site and available, you are providing a useful service and alleviating a pain point preemptively for both your attendees and perhaps the marketing team within your own organization.
While candid photos are always good to have, there is still a need for planned, posed and conventional headshots. I am often approached by conference attendees – people not paying me directly for my work – who say things like, “I need a new LinkedIn photo” or “My headshot is ten years old, can you do a new one for me?”. Aside from essentially asking a working professional for a freebie, these kinds of requests would take time away from what I am hired to be doing and are rarely accommodated for. They reveal the demand though, which could be better met by including an on-site portrait option within the general conference coverage contract.
Why not leverage the inherent social nature of conferences to turn a portrait session into a networking opportunity in its own right? You could promote the on-site photo booth as a place to meet other attendees, leverage its presence by offering another component a sponsor could brand, or embed it inside a collaboration or meeting lounge space that conference attendees can pop into when they have a spare five minutes.
When planning the shooting schedule and generating a shot list for your conference photographer, consider asking about including a mobile photobooth for corporate and group portraits. You’ll save time and provide yet another added value to your attendees.