When contracting a photographer or videographer to cover an event clients usually provide a shotlist (a list of key images the photographer or videographer needs to deliver after the event). While this practice helps organizers feel they have covered the bases and minimized the risk of not getting images they want, there are some hidden risks to be aware of.
The main issue with asking for a specific set of images….is that you might just get what you asked for. While this may not seem like a problem, if you are also expecting a broad range of images from your event that have not been specified on your shot list, the photographer or videographer you’ve hired may not think to capture them as they will be following the list you’ve provided.
The impetus for creating the shot list may simply be to serve as an aide-memoire for the planner who is thinking through where the eventual content will be used and how it will be distributed. But if that is the case, having a brief conversation with your hired visuals team about the purpose of their work will be more effective. Rather than provide a list of each speaker you want photographed, tell the team that your company gives a package of images to each speaker and sponsor of their contribution to the event which clarifies what the goal is for the shooter and aligns him or her with your company’s objectives.
Creating the list may also add another task to a usually over-burdened event manager. While it is helpful to provide your event photo/video team with a general flow of the day or an agenda from the conference, the most useful information may well be indicating what you DON’T need coverage for rather than try to spell out a long prescriptive list of what you do want. These kinds of instructions are usually easier to remember without a list and often can be given verbally at the venue, removing at least one line from the event planner’s to do list.
Finally, providing prescriptive work orders to creative people can sometimes limit the creativity you’ve hired the talent for in the first place. Again, a broad statement of purpose and alignment call or conversation with the team about what their work will be used for and why it matters can be a far more effective tool for getting the best quality images and video from a supplier than simply asking for a list of items to be checked off. It is also a more engaging way to work with your freelancers and makes them feel a part of your team which usually results in deeper commitment and motivates them to think about ways they can go the extra mile for you.
September is a good month to plan for a headshot renewal session for your employees. As the weather turns ever so slightly colder and the summer season fades into Instagram memories, the return to regular routines brings a new kind of energy planners can leverage for engaging employees.
Key advantages of headshot sessions
We are often approached to conduct profile portrait sessions for staff on-site during a normal work day. The advantages are obvious:
Time savings – employees just have to wander over at their appointed time slot and check in for a quick headshot.
Cost savings – booking a session for multiple employees (anywhere from six to 100+) brings cost savings as the contract will benefit from volume discounts
Better uptake – more than just scheduling efficiency, having a session conducted onsite means more of your staff are likely to avail themselves of the opportunity
If you are going to make the effort to set up a day where your executives and rank and file workers can get a new headshot, you want to maximise the number of people who get it done on the chosen day. This confers not just the advantages listed above, but also ensures a consistent look and feel to the portraits should you be planning to use them on corporate websites, or even just as ID photos or intranet profiles for use on in-company social networks like Yammer.
FAQs on planning a portrait session
When planning out the day a few commonly asked questions are:
How much time do I need to allocate per person?
We’d also like to do a few group shots – when should we schedule these?
What size room do we need?
What kind of lighting should we use?
What should people wear (men, women)?
Should we also book a makeup artist?
What kind of backdrop should we use?
1. Time requirements
Set-up time takes between 45 minutes to 1 hour, depending on room chosen for the session. The set up may entail bringing in a backdrop stand and backdrop, setting up lights and test shots to ensure everything is running smoothly. Once the studio is in place, the session is ready to begin. Very high-quality portraits can be taken in surprisingly brief encounters. In fact, in our experience, speedy portraits often capture more natural expressions as subjects don’t have time to really get worked up or nervous about having their picture taken. A good rule of thumb for planners is to book 10 people per hour. For executive and leadership teams, aim for 6 people per hour.
2. Group shots
Group and team shots should be scheduled after all the individual portraits are taken. Depending on the size of the group (company wide or a specific team) the group photo may need to be taken in a different area within the company or even outdoors or in a lobby space so plan for a buffer of at least 30-40 minutes after the headshots are done to allow for a new set-up (if needed). A good idea is to schedule all the individuals of a given team together so they are all done and ready for their group shot later that same day.
99% of the headshot sessions conducted onsite are taken in a large conference or boardroom. While it is not absolutely necessary, the additional space found in these areas is used to provide some breathing room between the subject and backdrop and the subject and light dispositions.
Lighting is the photographer’s concern not yours. Lights on stands are often used. Sometimes on camera flash is more appropriate (especially in cases where offices are too small to properly set up lights), and natural window light can also be used. Keep in mind that if you are aiming for consistently lit, more professional looking images shot on a white or grey seamless paper background, the photographer will likely want to control the lighting which means having the ability to close blinds and block out other light sources as deemed necessary.
5. What to wear
There is no hard and fast rule for wardrobe. Just as norms for what people wear at work has changed with only a few more conservative industry still requiring men to wear suit and ties to work, there are no fixed rules for how to dress for a portrait.
That being said, in our long experience, for a professionally useful headshot, men tend to look better with a collar shirt and suit jacket (with or without tie). The colour of the shirt matters with respect to the backdrop against which the photo will be taken (so white collar on white backdrop not good). As well busy patterns can be distracting or send the wrong message so unless it’s a retirement party maybe leave the Hawaiian shirt at home.
For women, in photos as in life, wardrobe choices are much broader. Keeping in mind that unless a group or full length portrait has been added to the bill this is just a headshot, so shoes, skirts and anything below the mid-riff will not appear in the photo. In a professional context, the kind of blouses and jackets worn at work on a normal day are usually good for photo days as well. Scarves, dangly or looped earrings and busy necklaces should be avoided (this is sometimes just to help with the editing after if needed on a given photo), and classic, simple, solid colours will give the image a longer term life.
6. Makeup artist
Working with a makeup artist always enhances and improves a photo session. Subjects enjoy the extra attention and the skillful touches and insights a makeup artist provides make subtle but noticeable differences in the final image. (For more on this check out an earlier post here.) That said, a makeup artist is not essential and booking one will add cost to the session. If budget and time allows (women will need at least an additional 20-30 minutes pre-shoot, and men at least 15-20 minutes), then definitely ask for one. Otherwise, don’t worry about it as you will still get very good images from your session.
A backdrop is what stands behind your subject and fills the frame around the edges. By definition it is in the background and while extremely valuable and important as an element in the image, keep in mind that the main focus of the photo will be the person being photographed. Backdrop considerations should be taken in light of the intended use of the final image. If you are posting all the images on your company website which has a branded colour or uses simply a clean white background on-screen then a seamless white paper backdrop is best. If you are more interested in showing your people in natural environments or your branding guidelines allow for more creativity and flexibility in how profile pictures can look, than you can look to use interesting walls if available (green walls, bricks, large art, etc) or opt for an in-context shot within the work environment or in front of a window with a good view.
Ultimately, there are many things to consider when setting up your company headshot session but nothing that can’t be easily sorted out in a quick call with your provider. Sessions can be planned for working hours, in-office, or at company events, town halls, board meetings or conferences. Hopefully this post helps as well. Feel free to share with your team when planning your session or reach out to us for help.
A recent trend in company town halls and employee meetings is presenting in the round, where the stage is set in the middle of the conference room flanked by audience members (usually split into four sections).
In the spirit of lessening the distance between the executive team and rank-and-file employees, the format allows for a more congenial presentation style. As the main stage is centred there is a much broader face of the audience to address and the most distant row is only a few layers back. In presentations, as in any relationship, proximity is power and the closer one stands physically to the audience, the greater the impact.
When photographing this style of meeting, there are some advantages. In most cases, the presenter/s will effectively provide four opportunities for full frontal shots as they rotate around the stage, addressing each section of the audience. This gives the shooter an increased number of openings for shooting not just head on portrait style images, but also some interesting side angles and wider angle views that take in a front-facing section of the audience as well.
There is, of course, the other side of the formula that means that 3/4s of the time your speaker has his or her back turned to you, but if you are nimble and ready to move, you can simply circulate around the stage from the outer periphery and stay facing your subject as she or she moves through the presentation.
Another upside is the greater number of audience engagement shots that clients typically request. As the main purpose of these events is to elicit engagement from employees and to strengthen company culture, images showing the audience rapt with attention, smiling, laughing or otherwise reacting to what is taking place on stage are important to capture. With a presentation-in-the-round style format, there is not one, but four faces to the audience to shoot into, all reasonably well lit from the stage lighting. As well, there will likely be four aisles to move through between each section, affording additional chances for down the aisle type shots and more close ups with a deep background of faces to fill up the image.
If you’re shooting a lot of conferences or corporate meetings, it’s likely you’ll encounter this type of presentation format soon, if you haven’t already. If you’ve shot more standard presentations than you can keep track of (ahem), this format can be a nice change and can be a new stimulus to your creativity. You’ll want to have a few lenses on hand (telephoto, wide, 50mm) to take full advantage of the shooting opportunities but you’ll find that this style of presentation is easier and generally more fun to shoot than a traditional conference style format.
When I started out as a freelance photographer, that’s all I was thinking of doing, and clients didn’t expect me to offer more. I was a sole practitioner, offering a specific, in-demand service and that worked well for me and my clients.
But much as I love the art and craft of photographing people at events, or observing and documenting groups learning and networking at conferences or creating thoughtful portraits of professionals, clients today need – and expect – more.
Much – maybe everything – has changed about how companies communicate over the past fifteen years. The technology is different, the channels for publishing and sharing content are different, the ways in which content is created and shared is different, the speed and frequency at which content is expected to be produced and distributed has accelerated, and clients today need their creative suppliers to be able to respond to all of these changes, quickly.
The average product marketer, comms director, event manager or conference planner today has to feed content to a dozen different channels from social media to micro-sites, advertising, social media and emailer campaigns all while maintaining and developing a brand their target audiences can recognize and love.
The band’s back together again
Perhaps the biggest change has been the explosive growth in the collaborative economy, in which independent gig workers and freelancers come together for projects and share and grow each other’s business through a web of interrelated referrals and service offerings – and there is more work than ever thanks to the never-ending maw of the internet that creates a constant demand for images, video, graphic design, graphic notation for illustrating ideas produced in a workshop or at a conference, written content and more.
This demand for more services has been a stimulus for growth for my way of doing business, and over the years, I grew and expanded on my main offering to satisfy the needs of my clients as a way of rewarding and maintaining their loyalty.
And it’s provided me with a chance to learn new skills, and stay relevant in a competitive space where there is always a new up and comer, right behind me willing to do what I do for close to nothing.
Photography, videography, podcast production, & more
Today I am happy to be able to offer videography through curated collaborations with skilled directors and videographers I regularly work with; photobooths for events and parties through my side hustle at LePartybooth.com; design and podcast production in collaboration with Media Mercantile; as well as copywriting and content creation. (I even wrote a book about freelancing based on everything I’ve learned living it over the past fifteen years, Gigonomics: A Field Guide for Freelancers in the Gig Economy ).
By offering a wider range of services, my clients are able to find what they need for the event and conference needs, and I am able to grow and develop new client relationships.
While some event managers and communications coordinators may prefer to work with different teams of vendors, I’ve found that most find it more efficient and satisfying to have one main supplier who can handle the full range of their content creation and coverage needs. This keeps things simpler from a project management perspective, and it is more efficient, as my team and I are able to leverage our learning and understanding of a client’s brand, company, culture and industry across related projects.
Adapting to rapid technological and cultural change is a necessary skillset for freelance content creators in today’s gig economy. Luckily, it’s also a fun way to keep learning and stay on top of your field. Developing and building a professional team of talented freelancers who fill out your offering to provide clients with the full suite of services they need to help them complete their mandate is increasingly becoming the new normal for the kind of work I am doing these day. The projects are bigger and more complex with more moving parts to coordinate, but the end results are often even more satisfying than just sending out a link to an online gallery. Creative services like the ones I manage and offer are an integral part of what many clients need to deliver on to satisfy their own internal and external clients. Having the support of a curated collection of people who’ve worked together, who can be trusted to deliver quality service on time and within budget is a precious commodity and one I’m proud to be able to provide my clients.
Got a project you’re working on now you need some creative support on? Let’s connect.
At a recent conference I was covering, during a break between sessions one of the organizers stood up and introduced The Human Search Engine to the audience: an opportunity for anyone in attendance to take the mic and give a one minute pitch on what they are working on and who they are looking to connect with at the conference.It struck me as a convenient way to add value to attendees and create another opportunity for network connections to happen which is always one of the main goals of conference organizers.
The process is simple, an could easily be introduced in any sized conference on any topic. After a brief introduction explaining the concept, guests are offered a chance to take to the podium and tell the audience what they are looking for.
Within moments a lineup is likely to form and then attendees can follow up with each other on networking breaks to develop the connection.
Most people who go to conferences are there primarily for the contacts and connections they make, and secondarily to absorb the content, stay current in their industry and learn a thing or two.
The Human Search Engine increases connections between attendees and provides a good break in programming, changing up the format and bringing out a higher level of engagement. Give it a thought if you’re planning out your next conference.
Conference planners (and the event companies that often interface for them and manage the local suppliers) often book photo/video teams well in advance of their conference, and usually long before the agenda for the event is finalized.
The upside of this practice for a client is that elimination of last minute panic scrambling to hire a reliable team during a busy conference season (ie autumn) when there are many other events running concurrently. For the photographer/videographer it’s a “bird in the hand”, a blocked booked date in the calendar which means paid time – always something comforting in the gig economy.
There is a downside, however, which I’ve encountered on numerous occasions, which affects both the contracting entity (whether that’s the direct client or an agency acting on their behalf) and the supplier, and it affects both the quality of the bid received/submitted, and the price.
“…as the day is long”
I’ll start with an example. When an organizer is trying to lock down costs for an event taking place many months in the future (or sometimes just a few weeks ahead), the aim is to get all supplier costs in on fixed price bids.In order to do so the RFP, or call for estimates usually asks for a day rate on the job.
A day rate is a fixed price, and means the client doesn’t have to worry too much about providing details on the exact schedule for the day. The problem arises when the concept of a “day” gets stretched to include every waking hour from the 7am early-bird registration/buffet breakfast to the 11pm last call after the bar closes at the end of the opening night reception.
When a supplier offers their day rate, they are usually calculating a day to mean 8hrs, give or take 45 mins to an hour. It anticipates a bit of lag time between programs, a meal when photos of open mouthed chewers are eschewed, and maybe the opening round of a cocktail event. Something like 8am to 5pm, or 9 am to 6pm. What people working regular jobs would consider a normal working day.
Alas, for freelance photographers/videographers, the idea of a normal working day doesn’t seem to factor into many client’s thinking.And should you be so unwise as to have submitted a bid based on an average length day rate, you may find yourself working the equivalent of two days in one, or effectively getting paid 50% of your normal rate, because the goal posts shifted after you submitted and won the bid.
Being the lowest cost bidder will often win you work, but it doesn’t help your career and ultimately encourages the unfair practice of being asked to bid on work for which the scope remains undefined.
From a client perspective, it may seem like a win to lock in a supplier on a price based on terms that subsequently get redefined to the client’s advantage, but the result is likely a souring of the relationship and “you get what you pay for” attitude on site from a supplier who realizes they’ve been conned.
Build flexibility into the bid
Most clients are not out to screw their suppliers, but this can be an unintended consequence of asking for fixed price contracts without provided full clarity on the scope of work being requested. One practice that I use that helps is to add a clear note in estimates that the day rate is based on an 8-hour day, and hours in excess of that are billed at a standard hourly rate. This keeps the bid submission price reasonable and averts sticker shock, and if, once the agenda gets finalized it is clear that the day is being stretched to include evening events that expand the hours in the day from 8 to 12, you have a fair basis for negotiating a price that better matches the work actually performed vs. what was anticipated when details were scant.
Event photography has always been a bit like the fast food business with a need to deliver fresh photos quickly, but today it is more like Netflix where clients expect to have a steady stream of images on demand, delivered almost as fast as you can take them.
One reason for this, of course, is to meet the expectations of event attendees who will be snapping and posting photos of the event on their personal social media feeds. Event managers want to tap into that same excitement but keep eyes trained on their social channels and leverage the content and media generated to support the event. This is usually managed by assigning and communicating to all an event specific #hashtag which helps pull in photos and videos posted by everyone who uses it, not just the paid professionals hired to cover the event.
Another reason clients like to have a hot dish of freshly baked images delivered on site is to take advantage of venues that offer big screen experiences, like we recently experienced at Taverne 1909 here in Montreal, for the after party of the Shriner’s Hospital Wonder Race event.
Not only does the instant show provide an added element of fun for attendees (who are all waiting to catch a glimpse of themselves in the shots selected) but it is also fun for the event photographer who usually sends off his or her images to a client’s email without ever really seeing how people use or react to the images that have been generated, curated and crafted into a storyline.
As a professional event shooter today, if you’re not using tools that allow you to turn around a set of images onsite, quickly, you are becoming obsolete. And for clients, if you’re not taking advantage of the extra oomph you can pack into your events by sharing images (and brief video reels or event highlights for a grand finale) you are missing out on an additional touch point with your guests and a chance to add yet one more layer of connectivity between you and them — which today is what’s needed to capture loyalty and keep your event top of mind for attendees, who have a plethora of events, conferences and meetings to choose from.
As a conference and event photographer I am frequently asked to provide estimates for covering day-long meetings or multi-day conferences. It is not uncommon to be asked to provide a detail costing out for services even before the official agenda for the conference is finalized. The challenge here as the photographer – and I would argue for the client as well – is understanding how much coverage is enough and pricing accordingly.
There are some rare clients for whom budget is no object and they would rather have the peace of mind of knowing the photographer they hire will be there to cover whatever is happening, wherever, whenever and they don’t want to waste time parsing out an agenda to reduce the hours (and the bill). They would rather pay full pop and get more than they need and sort it out afterwards. These are great clients to have.
But the vast majority of clients are not so loose with their purse strings and usually are operating on behalf of their client, who has hired them to organize the event. These kinds of clients may still ask for the complete coverage but they are much more sensitive to cost and may wind up tossing the baby with the bathwater if they receive a bid that seems high, without evaluating if what they had asked for a quote on was completely necessary.
For example, I am often asked to arrive onsite up to an hour to an hour and a half before anything actually begins. This is almost always to mitigate a client’s anxiety or worry about not having a photographer be there when they really need them and may speak more to the reliability of some freelancers than to the anxieties of the client, but the net result is either a lot of unpaid time for a photographer, or an increase in cost to a client paying for something they don’t really need. Every professional photographer or videographer I’ve worked with or hired has been able to size up a space, the pacing of an event and digest the order of action for even multi-day, multi-location events in a very short time. It does not usually require more than 15-20 minutes as it is usually very obvious to a professional what is important, and what isn’t.
Another way clients ask for more than they need is if the event they are hosting involves a lot of repeat action in the same setup, with the same lighting, and most if not all the same people, perhaps moving from room to room for workshops or discussions in slightly different formations. Depending on the final use for these images, it may not be necessary to pay for a full day of coverage if you can capture the main look and feel of the event in fewer hours.
On the flipside, it is unreasonable to ask for a photographer or videographer to show up for a gig that won’t last more than an hour, or an hour and half and expect to pay the same hourly rate offered on longer jobs. I know of few (to no) people working regular jobs who would even consider going in to work if their boss said they only need to be there from 2:30-4 so will only get an hour and half’s worth of pay that day. Gig workers (and photographers and videographers have been working in the gig economy since long before it was even called that) also need to make a living wage and can’t afford to take small jobs without applying a minimum rate to cover their time. In this case the client should be prepared to pay a fee that is higher than a job priced on an hourly basis would be if longer hours were offered for the service provider.
In the end, it makes sense both from a photographer’s point of view and a client’s perspective to consider what the desired end result is from the photos (or videos) produced and structure the work accordingly. Complete coverage, half days, partial or minimum fees are all based on finding that balance between meeting a client’s needs and making the work worth the time and effort a professional will provide. A little time upfront spent thinking through the event and even discussing it with the prospective supplier can save both time and money – and ensure that the client receives a fair and accurate quote they can build out their plan on.
(If the embed video doesn’t work which often happens go here: https://youtu.be/Iwuy4hHO3YQ)
Hey presenters – stop using video to open for you!
A lot of presenters now use videos as a kind of mental cocaine to stimulate their audience and fire up their emotions. The room darkens, a presenter pops out on stage and mumbles a kind of apologetic introduction then scurries to the side to let the video do the heavy lifting. The intention – I presume – is to focus the audience on to the topic at hand, using the emotive force of moving images and stock music tracks to engage them. As the photographer observing that same crowd, I think exactly the opposite actually happens.
Here it comes. You down the last cold bit of coffee left in your cup, wipe the crumbs from the slightly stale danish off your tiny little foldable keyboard and look up to the big screen to see what room you’re headed off to for the first breakout session. You have your choice of a, b or c. Each one of them promises another form of minor torture under the guise of getting more content crammed into your head. It’s the panel discussion part of the agenda and while conference organizers around the world have planned and thought this conversation through carefully, perhaps it’s time to try something else.
I get why panel discussions happen and why they are a great idea in theory. As an organizer you get to include a lot more speaker names on the roster and can cover a much wider range of material, which theoretically adds value to attendees and provides your conference material with some depth in specific focus areas.
Why wouldn’t you want more content from more speakers who are experts in their field and ready to have a big, deep, fact-filled conversation in front of you with other experts just like them. How could you not walk away from a session like that feeling energized and more informed than when you walked in?
The problem begins with the format. Everyone sitting up there at what is effectively the head table, is almost always an invited guest. They are usually sitting with their peers and colleagues, or people whom they’d like to network with. Despite having their own insights and individual voices, they will invariably all agree with one another because no one wants to make anyone else look like they said something they shouldn’t have said, or worse, said something that could be seen as disagreeable.
So everyone on the panel will share the same point of view, adding their own personal nuance to it so that by the time the audience has heard from each one they will effectively have heard the same thing told in three or four or five different ways.
The dynamic is one directional as well. Attendees, who may be brimming with ideas they want to share, are basically back at school. And since they can’t really participate usually until the very end, they do what a lot of bored students do these days – and look down at their phones, scribble in their notebooks or work on their laptops while the panel talks to itself up front. And that’s when the room is moderately full providing some modicum of camouflage for the attendees.
In the worst case scenario, the room has marginally more seated attendees than there are panellists, and the conference organizer is sweating trying to draw in more bodies to fulfill their promise to the speakers to provide an audience.
Then there is the room itself. Small, windowless, either too hot or too cold, and usually poorly lit so the speakers are sitting up front under burning pot lights or slightly in shadow. It can be actually visually painful to watch and I can’t tell you how many times I’ve scrutinized the faces of zoned out looking panellists not currently speaking who seem to have completely forgotten that they are sitting in front of a roomful of people who’ve come to watch them and listen to what they have to say.
Ultimately, it just seems like most people are bored. Not because they all aren’t smart and dynamic individuals, with curiosity and interest and the energy and drive to go to and participate in conferences – but because the format of the panel discussion seems to preclude their involvement entirely. Instead of feeling like a conversation you’re a part of, it feels like you’re watching a tv show you can’t change the channel on.
Of course there are exceptions. I’ve seen great panel discussions and heard brilliant people speaking from their big white armchairs on stages around the world. But the vast majority of panel discussions I’ve witnessed, and been hired to photograph and make look highly engaging, just don’t seem to ever get much lift off.
I think it’s time for conference organizers to re-think the panel discussion parts of their agendas. There must be other ways to achieve the desired result of delivering a lot of high value content to a wide mix of professionals without boring them to death in dimly lit rooms.
Why not try a walking tour of the area, or pull everyone around in a circle or a few circles providing content moderators leading conversations on specific topics? Or give attendees some tools and toys to play with and get them doing something physical related to the topics, led by some energetic professional meeting moderators. Maybe the answer is simply to not try to cram so much into the time, but leave a bit more open, loose space with some inspired, thought leaders capable of leading people through some potent ideas related to the conference theme that can be developed over the two or three days the conference group is together.
Or put up a series of thought provoking posters, images, videos or virtual reality stories at stations and make the break out session like a visit to a room in an art gallery with each station providing some insight into the relevant theme of the conference. It would be a little more work to organize, of course, but if even one series of panel discussions could be replaced by a more active, more engaging, more dynamic activity that attendees really could participate in, I think the overall experience would be improved for everyone involved.
At the very least, the photos would be more fun to look at afterwards.
Most event planners do not put lighting very high on their priority list, if at all, but it can make a difference in how the photos and videos from their event will look. While not every event can afford a lighting designer, just considering simple things like whether the room you’ve selected has natural light or not will make a difference in the kind of imagery your event will yield.
This week I covered a talk given by an Olympian gold medal winner, Bruny Surin, hosted by Rio Tinto’s Health & Wellbeing Committee. Amongst the many positive takeaways from the session (which ended with a pounding dance beat and a push up contest), what he had to say about achieving your life’s goals was something that really caught my attention.
I often receive solicitations by email to work for foreign clients coming into town for an event they are hosting. The type of events range from a few hours of a global sales meeting to full multi-day conferences, and every kind of networking / cocktail / gala / awards reception you can think of in between. I’ve noticed that many of these out-of-country clients work with very specific mandates and shot lists, sensibly, since they are typically the same kind of organizations that mount events worldwide and need to ensure a consistent quality across their global portfolio of events.
Here are some tips to make the process smoother and easier for event planners looking for creative contacts in a city they are unfamiliar with:
A question I get asked a lot by people I meet at conferences and events I am covering is “What are the photos for?”Sometimes it’s phrased as “ where do the photos end up?” or “Who are you working for” but the intent is always to understand why I am attending every session, popping up at the front of the room during the keynote and constantly scanning crowds for emotions and reactions, like a security guard on high alert.
Millions of photos get taken every day only to flicker briefly across a small screen then roll down out of sight forever. What makes the images produced by an event photographer any different?
It’s a fair question and deserves a brief response. In person I invariably say I am hired by the organizer to cover the event and leave it at that, but if you are the organizer, it is worthwhile considering exactly what you intend to do with the images.
We need it now
These days there is a demand for very quick turnaround on photos to populate Twitter feeds, Facebook page posts and generate Instagrammable moments. This rapid turnaround on photos requires a quick selection and in-phone edit to get highlights out to a designated contact onsite who then flips the images into targeted posts. Conferences, in particular, benefit from this kind of speedy service. Generating a steady stream of content linked to the presentations and discussions taking place at the conference provides the organizer with a rich social media stream throughout the conference, and leaves behind a trail of moments that can be used, post-conference, to get a broad summary view of the entire event for those unable to attend.This extends the reach of the event, helps promote the next one, and drives traffic to the organizer’s site while it’s happening.
Always online marketing
Another related use of event and conference photography is simply tohave a bank of owned, edited, usable images crafted exclusively with your n annual gathering of family physicians or an international host of 5G engineers, your organization will be communicating with attendees – and prospective attendees – throughout the year. Email blasts, blog posts, press releases, Tweets, LinkedIn stories, etc will always need a few good photos to illustrate the content. Regardless of how meaningful or well written your piece is, without images your engagement levels will sink. Being able to draw from a well of images you’ve specifically had shot for you, at your own events, with your own needs in mind means when you are under the gun to get a press release out you have ample images to choose from to help augment your pitch.
Selling the story
Similarly, as over-used as it has become, people respond to stories first. No one really appreciated being sold to, or marketed at – but that same prospect eagerly absorbs a story if it comes with a relevant emotional hook and appeals to something greater than a desperate plea to “Click Here” for the next dopamine hit. Photos that show a real moment shared between attendees at an event tell the story of what to expect clearly and intuitively. Going to conferences or coming out to an industry event has huge potential benefits for a person’s career, professional network and reputation. But the price tag to attend can sometimes be daunting, or more significantly, making the time in a busy schedule can be challenging. A prospective attendee has to feel that it’s going to be worth it and getting him or her to read through any length of text or preview an agenda isn’t going to cut it. They want to speed through a reel of photos from your last event, watch 20-30 seconds of a highlight reel and decide if the location and theme of your upcoming conference is worth their time.
And that’s all just the external facing uses of event photos. Internally images are shared during employee only / team building events. They can be used for documentary purposes just to remember how the room was laid out, or the exact number and placement of screens set up. They are helpful for on boarding new staff who may suddenly find themselves responsible for wrangling crowds of several hundred or even thousands of people. And of course, they can be used in targeted sends to past speakers, sponsors and other key financial contributors to an event to extend and share the same benefits to them.
Photography has become more important than ever in a media-saturated age, and having images that really stand out and make your event look its best are key to the success of future events. In the end, the images become a part of your brand’s story and one of several tools event organizers need to continually develop their market and maintain relevance in an increasingly crowded space.
I’ve been working as a freelance photographer for over fifteen years, starting from humble beginnings to having a pretty thriving practice today with a team of photographers and videographers to help me better serve the growing and changing needs of my expanding clientele.
Despite major technological changes in photography putting a camera in everyone’s hands, event photography has only grown. While there are thousands of photographers around today, there is also a huge and consistently growing need for images that tell stories, communicate brand personality and help event managers reach their audiences.
In the past month alone I and my team have covered fashion shows, balls, multi-day conferences, trade shows, recruitment fairs, graduation ceremonies, business luncheons, unveiling ceremonies, gala events and parties, executive retreats and several fundraiser evenings. It’s been an exhausting yet still exhilarating fall season and it doesn’t look like it’s slowing down any time soon.
Here are some highlight images from this hectic fall season:
Taking a moment to pause and reflect, I think one of the keys to having a successful thriving freelance photography business is keeping the needs of your clients foremost in your mind at all times.
A “client” may be one person, or a team of people, all of whom you as the event or conference photographer are there to serve. The agenda may change, schedules get moved around. You may need to deliver a quick set of select images in real-time, or show up at an ungodly 6:45 am call time for a cold walk outdoors in sub-zero November weather because your client needs you there. It’s all part of the job.
If I had to summarize the most important traits a successful freelance photographer (or any freelancer really) needs it would be the following (and only one really has to do with technical ability):
Adaptability: being prepared and ready to adapt to sometimes (often) very last minute needs and change requests from clients.
Client-first attitude: while it’s important to bring your experience to bear on events you are asked to cover (you should be the one choosing where group shots get taken, and paying attention to details that show up in an image that clients are too busy to think of), you are ultimately there to serve the client. If they need you to take a photo of every award recipient that gets up on stage, you do it.
Technical prowess: you need to know your gear and how to use it. Galas, conferences, meetings, trade shows – all take place in spaces where lighting is rarely natural. Understanding the best way to show off the room, the people and the space with the available light goes a long way towards delivering images your client will be thrilled to receive and happy to share.
Being easy to work with: this seems like an obvious one, but remarkably, not every photographer seems to recognize where they stand in the pecking order. It’s great to be confident and proud of your work, but there is no place for divas or big egos when you are on a job. You do your work with a smile, or not at all in my opinion. No client needs to deal with you and ultimately everyone is replaceable so while getting the photos right is important, being someone people enjoy working with is even more important.
Getting the gig is of course the most important part of freelancing as a photographer, but once you have it, keeping it going relies more on your personality and how you interact with your client than anything else. Your work has to stand out, but in the end, clients may find you because of your portfolio, but they choose you because of your personality and how you work.
Anyone can take a very good photo today, whether it’s to update a headshot for a new LinkedIn profile, or capture some snaps for a company event. If you are running any kind of event for your company one of the ways planners look to contain costs or reduce the budget is to use a (usually junior) staffer to document the event rather than hire out to a professional. Depending on the size of the event and the ultimate purpose for the photos, this can certainly save costs and is worth doing, especially if your internal resource is interested in photography and really wants the added responsibility.
But…there a few things to consider before asking your graphic artist or comms coordinator to cover an event you are hosting or a conference you’re running.
What is the opportunity cost? While at first glance it looks like a cost savings to use a resource you’ve already got on salary to do an additional job, at what cost in the use of their time and skill set does it come with? Does your content marketer (whose job it is primarily to write) or your graphic artist (whose job is to work on design, layout and production of materials for web or print) have extra time available to process the images for you? If not, what project are they taking themselves away from to manage, edit, post and deliver your images?
How good are they? Notwithstanding high quality cameras on everyone’s phones, taking good, usable photos at an event requires more than just technology. Does your employee have the character, personality, vim and vigour necessary to get out there and mix it up with the attendees? Will he or she be willing to get up close for speakers and panellists, or group senior managers and executives for portraits? Interaction with guests and attendees is a critical part of getting lively, useful photos from events that will have consistent marketing value afterwards. Is your junior staffer up to the task?
Do they want to do it? If they are asked to “grab some shots” while attending the event, is the request something that is viewed as an opportunity to do something fun (and show off their skills), or is it seen as yet another additional task added to their already large and growing to do list? If the latter they may not be inclined to do more than the minimum which could mean the difference between receiving 10 to 15 images (max) from an event vs 150-200 or more (depending on the length of the event) from which the person receiving the photos has to choose.
DIY photographers are a part of the industry and no professional ever got to where they are today without having started somewhere. If you have budding photographers on your team (and want to encourage their hobby which may result in them eventually leaving your employ) then there is no problem letting them loose at your next company event.
But if you are serving a specific market, and the images from your company events are part of what your clients uses to evaluate your business, think twice. All content produced today scores higher in engagement and ultimately is more effective when paired with strong visuals. Whether you sell access to events or simply want to present your company and its culture to prospective recruits, having a solid bank of quality photos to choose from for your next recruitment or ad campaign, trade show attendance, blog/Facebook/Instagram/LinkedIn post, newsletter, etc will have an impact. Nothing kills a piece of good content like a dud photo or an ineffective image.
Don’t let short-sighted thinking limit your ability to deliver on what your company needs to achieve to ostensibly save a few bucks. In the end, it may wind up costing you a lot more than you anticipated.
In the events and conference business, organizers are often looking for both photographic and video coverage. Both are best provided by a professional, despite the ubiquity of a device in everyone’s pockets capable of shooting stills and capturing video. However, pricing for professional event photography and video coverage can sometimes result in sticker-shock, particularly for new event and conference managers or coordinators who’ve never hired a pro before. As these roles are often staffed by younger,newer entrants to the workforce who’ve grown up with Instagram, and now Snapchat, they may wonder what goes into the price of photography and videography (and why does it cost so much???) As a long-time professional photographer and someone often subcontracting professional videographers, I’d like to offer some insights into what goes into the pricing of each and what makes video more expensive to produce than photography.
Why hire pros?
First of all, why hire professionals at all when everyone on staff has a phone that can shoot fantastic photos in varying light conditions and capture great video clips? The main reason is simply that only someone hired specifically to capture images and moments at an event will have the focus and stamina needed to ensure complete coverage.Any event or conference organizer putting on a big successful event has more than enough to do during the event to keep them busy without adding the extra task of “getting a few snaps from the sessions”. While there is a demand for immediate image delivery in many scenarios to feed Twitter, Facebook and Instagram feeds, these can be furnished on the fly by the pros working for you at higher quality than what can be captured with a phone by a distracted junior staffer who also has seven other jobs to do at the same time.
Why not get one person to shoot both?
Another question that sometimes pops up is why a photographer can’t also capture “a few video clips” along the way. It is a fair question as the pro-grade camera equipment professional photographers use are capable of shooting 4k video and are often the same base models used by videographers. But the tasks are ultimately very different and while it’s possible to squeeze a two-for-one deal out of some photographers, the end results are generally of lower quality and usually will still require the hiring or fees related to video editing in order to have a usable video.This kind of contract would work best if the purpose of the video is simply to showcase some highlights of the event and the sound track will be added later in the form of some kind of sourced audio file or narrative overall, as the sound capture is rarely clean enough for video without an external microphone (which a photographer is not going to have mounted on his or her rig).
Breaking down the price differential between a photographer and videographer
Both types of professionals have a few things in common: expensive equipment and image processing software, and a significant investment in time and passion for their craft to gain enough experience to know how to use it all for producing marketable images and video that clients need for their marketing and sponsorship programs.
Obviously, a photographer has just one dimension – the image – that requires attention. While this can entail using a variety of different lenses and devices (ranging from the Ricoh Theta S for shooting 360 virtual reality images, to drones or time lapses), in the end, a professional event photographer is focussed on finding and creating images that tell the story of an event or part of an event, through effective use of composition, lighting, and skillful post-production work on images.
A videographer, by contrast, has the same task but has also to pay attention to sound capture, which comes both from their own work as well as integrating feeds captured by AV teams who are shooting all sessions and main stage events.
Furthermore, while both photographers and videographers will spend similar amounts of time at the event providing coverage, the post-production requirements of video is far greater than what is needed to produce quality photos.
It’s all about editing
As a photographer, I’ll typically shoot about 100 images per hour, and spend roughly one hour on editing and post-production for every three to four hours spent shooting.A videographer may spend an equal, if not greater amount of time on editing and producing a video as he or she spends shooting because their task includes not just processing their own work, but slicing and dicing up individual clips into a coherent narrative, titling, often incorporating work from other videographers, logos and special effects, as well as ensuring a consistent audio quality, sourcing appropriate music tracks and dealing with many more client comments and change requests than a photographer ever has to address.
Extroverts vs introverts
Photographers and videographers are also often quite different in personality and style. While a good event photographer will be able to mingle fluidly with guests, interacting often and engaging people in ways that elicit happy, natural expressions, a videographer is more likely to stay a little further back, capturing events without him or herself being a part of them. Of course on screen interviews require an engagement with subjects that is often handled by the videographer, but generally, a good photographer is more extroverted than his or her equally talented videographer whose job also includes long hours staring at footage on screen weaving moments together into a compelling narrative structure.
Both types of professionals are storytellers and should have a demonstrable ability to see and capture key elements of any event, but videographers will also have to deal with more technical details than photographers usually have to contend with. A videographer will generate much larger files (which requires longer machine processing time, storage and delivery capabilities), have to produce and organized different media sourced from multiple cameras and audio feeds, and source and integrate additional materials like stock footage, clips, audio files and special effects.
Is it worth it?
A final question to consider is whether the investment in photographic coverage and videography is worth the not insignificant expense.There is no one answer to this question as it depends on the marketing aims on ongoing publications needs of the organizer, but here are just a few uses of event photos and videos that clients typically have need for:
Content for social media platforms: one event can generate a large volume of content that can be snipped and parsed into multiple posts both during and after an event extending the marketing impact of the event.
Content for annual reports, newsletters, blogs and other in-house publications: there is a constant and ever growing need for content regardless of the type of business you are in. A full set of images or video clips from an event or conference will produce usable portraits, group shots, wide-angled overviews and other graphic elements that designers will use as backdrops, splash pages, details etc. Having a well-organized, trove of owner, rights-cleared images and videos that can be delved into at any time by internal or external designers or content marketers creates huge long-term value for an organization.
“Thank you” packages for sponsors and speakers: many large events fund all or some of their costs through sponsored elements featured in the event. A significant part of the value created from these sponsorships hails from the images generated that can afterwards be shared and distributed with sponsors who will then disseminate them through their own content marketing channels.
So if you’re next job is to “find me someone to cover our event” or you’ve just realized that “Holy s*&! we still need a photographer and videographer for our event next week!” keep these points in mind:
Do I have enough budget to hire a professional photographer and videographer? If not consider just a photographer as the results have a longer shelf life than video and the cost of acquisition will be lower.
Do I know what the images and videos are going to be used for? Providing a sense of where the final images and videos go (and ideally matched with examples from previous events) ensures the people you contract with are aligned with your needs and focused on delivering exactly what you require.
If I am asking for a video do I know how long I want it, what it should include and the kinds of interviews I want conducted? An effective video today is best kept short but structured in such a way to make a point and tell a story. That is easier said than done and often requires at least some kind of script or blocked out sense of what the final video should look like. If you have never done one before ask your videographer for ideas and suggestions.
Hiring freelanced outsourced labour is increasingly how businesses work in the gig economy. Photography and videography are almost exclusively provided for by independent freelance professionals, working alone or in teams, and their services are usually contracted through a direct interaction between themselves and the client. While platforms exist for sourcing photographers and videographers, you are always better off just Googling “event or conference photographer/videographer ______CITY WHERE YOUR EVENT IS BEING HELD_____” and dealing with them directly. You’ll get better service, and usually better pricing. The best approach that yields not just a positive result for the first contract but often leads to developing a lasting business relationship is to be informed about what you need, be honest about how much budget you have and be clear about what you expect to get out of the arrangement.
Marketing through Meetups – leveraging niche communities to broaden your reach
Meetups were one of the pioneering groups when people still referred to the internet as the world wide web and there was no such thing as Facebook or iPhones. As an organizing principle they are beautifully simple and targeted: form a group around a common interest or passion, and literally meet up regularly in a local neighbourhood venue to share ideas, talk, network and form relationships.
ProductTank MTL runs a series of themed monthly Meetups in Montreal, featuring three speakers from local businesses sharing their ideas, strategies and insights working as product managers or founders in technology companies.
The most recent event (it’s 14th edition!), held at Groove Nation in the Plateau, centred on EdTech and featured Roberto Cipriani, CTO of GradeSlam, Renaud Boisjoly, CEO at Studyo.co, and Hiba Fanta, Product Manager at E-180.
The evenings are a nice mix of learning and networking with peers, and there are often job openings advertised, from the presenting companies and an open mic for anyone else in the audience looking for new talent. If I were looking for a new gig in tech, I’d be attending these and other Meetups like these regularly.
There are hundreds of Meetups in Montreal alone, whether you’re interested in Ecommerce, Learning, Food & Drink, or simply trying to meet other people if you are new to the city. There’s even one for Digital Nomads.
Meetups are a fantastic way to bring people together but their use could also be an easily accessible business development tool for instigators and marketers looking to grow their influence. Just a few groups that come to mind for which the benefits of a Meetup seem obvious are:
Brands / Companies looking to make connections within niche communities
Venue owners (bars, restaurants, spaces) that are underutilizes at night or looking to get known in their communities)
Professional associations looking for new members or to share knowledge and create networking and development opportunities for their members.
As an event photographer, I’m surprised by how few Meetup organizers are leveraging photography to bring more people to their events and broaden their reach and impact.
Through sponsorships from companies seeking connections with the people your Meetup group represents you can easily cover the cost of a few hours of photographic or video coverage for your event.
Nothing sells an event better than professional looking photos of real people in real venues having a good time and interacting with each other. Conference planners and professional meeting organizers know this and always budget for coverage as it provides fresh new images to furnish blog posts, advertisements, website copy, and media and freelance journalist who come to the event, thus extending the group’s reach even further.
ProductTank MTL is a well organized chapter of an international group, with a very targeted niche for an in-demand professional skill set. It is an obvious opportunity for a sponsor looking to connect with that same pool of talent. For a few thousand dollars a year a sponsor could sponsor the photography portion of a Meetup for a year, providing a minimum of 12 regular posts on the group’s own Facebook and Meetup page, as well as access to images for the company’s own use.It seems like a no-brainer from a marketing spend point of view.
If you are either a Meetup organizer, or in a company looking to make connections to talent and the communities your company operates in, spend an hour looking through all the available Meetup groups organized in your city – or start your own.
Over the weekend I covered a large event at a beautiful historic location in Montreal (the Théatre St. James) which used to be an opulent and ornate old bank.
It is a spectacular place for an event – commodious main event space and a secondary space in the basement with access to the old bank vault, which can be converted into a lounge as was done at this event.
The engagement included both continuous event coverage and a photobooth from my company, lePartybooth.com. Photobooths never seem to get old and they add an easy and fun activity for guests of all ages at an event. They also provide branding opportunities for sponsors and the event organizers through the use of branded imagery, green screened images and take away, instant prints.
However, to get the full value of your photobooth, consider where in the event you ask for it to be set up. While set-ups vary between open air mobile studios and premium standalone kiosks, most photobooths require about 15 x 15 feet, and ideally even a bit more space for the props table and prints.
Not every event space has optimal locations for photobooths, but your provider should be able to counsel you on where would be ideal. From the client point of view you want the booth somewhere in plain site to the main event and easily accessible by your guests. If they have to go up or down a flight of stairs, or leave the party to go to a secondary room, your participation will drop off a cliff and you will not be getting the best value for your money.
If you are planning to include a photobooth at your next event, keep these simple tips in mind:
Include the photobooth somewhere in the main event space
Remind your guests a few times throughout the evening that the photobooth is available for their use and they don’t have to pay to use it (*unless you are using the booth as a fundraising tool)
Ask your provider if they can furnish you with a few images from the booth to show on the main screen during the event
Encourage your guests to share their photobooth images online via the sharing functions built-in to the booth using your event hashtag
And a bonus idea:
If you really want to leverage the photobooth, consider running an in-event contest, offering a prize (voted on by applause or some other crowd-engagement measurement) for the wackiest or most outrageous photobooth pose of the evening.
Photobooths are always popular and including one in your event budget creates another sponsorship vehicle or place to extend the reach of your marketing. Having decided to spend the money, make sure you get the best use from it by making it a prominent and well-situated element in the layout of your floor plan for the event.
I recently covered a seminar for medical professionals in an charming Old Montreal hotel. The conference brought together experienced practitioners and researchers with their younger associates for an exchange of ideas and learning but one particularly interesting segment to me was about how to present which inspired me to put together my own thoughts and observations on the subject, culled from my many years experience observing presenters in all kinds of different fora, from meet ups at bars, to large international congresses, shared below:
You are the presenter, not your slides: if your slides are full of lots of text and your presentation comprises you staring down at your laptop reading out the points with very occasional asides or additional points, than your presentation will put people to sleep. Your objective in giving a presentation is to actually engage your audience, hold their attention, and have them learn something. To do that you need to be the one delivering the message, not your screen which is there to back you up and provide impact but not be a replacement for you.
When presenting, never stand in front of the projector: while this seems obvious, it still happens with some frequency, particularly in these smaller, single-room set-ups.Although I sometimes enjoy the almost performance-art type images that can occur serendipitously, the intended audience may be more interested in actually being able to see the content of your screen. (I think it would be interesting if a presenter could wear some kind of device that would trigger a silent alarm if the presenter unwittingly stands in front of the projector, but I digress.)
Use simple, readable fonts: arial and calibri, though a little boring, are easy to see and read, which is important if you are actually using your slides to present information as would be the case for most researchers, scientists or medical professionals who get asked to present at a conference.
Don’t over-animate: excessive use (almost any use IMHO) of animations are distracting, and almost always look like you just discovered them and thought they were really cool. Restrain yourself and limit the use of them, if you must use them at all.
Mind your body language: In theatre it’s called “blocking” and it means you’re showing your back to the audience. You don’t ever want to do that, so pay attention to where the audience is and position yourself on the stage (or in the room) where you are not blocking anyone’s view of your screen nor showing anyone your back. And when you speak and need to refer to the screen, use the arm closest to the screen, regardless of whether you are right or left-handed. Stand straight, pay attention to your posture. If you happen to be presenting in a group and you are waiting for your turn, don’t forget that you are in front of the audience and on-stage. Try not to look excessively bored, or tuned out.
Be careful with using videos: videos can be great entertainment but I’ve seen them used too often as a supplement to giving a thoughtful discourse. They are also impossible to connect with so they end up bringing your audience’s attention away from you and into the screen where they get lost for the duration of your video. Ask yourself how the video is making your point better than you could without it. And if it’s really an integral part of your message, limit the use and maintain your presence and commentary so that you still “own” the room when the video ends.
Be yourself: it’s wonderful when a presenter has natural charisma, makes people smile and laugh through their sheer presence and can keep the audience chuckling with well-placed witticisms and seemingly off-the-cuff jokes. But that’s not everybody. That’s not even most people. Rather than try to be overly entertaining or extroverted if it is not in your nature, just be yourself.
Know your stuff: double down on learning your material and be so comfortable with it that you’re able to talk naturally to your audience without relying heavily on notes. Practice in front of a mirror, record yourself and improve on what you notice doesn’t work when you see yourself.
Speak calmly, clearly and be conscious of “filler” sounds: um, if you are, um, trying to make, uh, the, uh point, about the uh, graph over on the uh, left, uh, side of the screen, um there…You get the picture. Record yourself, practice and listen to your speech patterns. If you are prone to sounding like that, then rehearse more until you’re not.
Be on time: I’ve never seen a conference planner who wanted their speakers to go overtime. If you’ve been given a 20-minute slot, make sure you end on 20 minutes and no more. And if you get a 2-minute warning, but have 10 minutes left of material, don’t rush. Pick the key point and finish there. No one wants to see you fly through 20 slides in two minutes and no one will retain anything from it.
Use eye contact: look up from your notes/the screen often and for more than a flickering second. Look at the whole room, not just the few front rows that you can actually see well.
If there is a podium, don’t grip it and hold on for dear life: podiums are terrible for photographers. They crop your body in half and if you are not tall, they leave just a bit of space to capture a good shot of you. They also distance you from your audience. If you are at a podium feel free to stand beside it, or to step away from it now and then to break up the monotony of the lectern and to give your audience – and grateful photographer – a few opportunities to see more of you than what shows up behind the microphone.
Use hand gestures, but don’t gesticulate wildly: hand gestures add dynamism and can create some great mid-action shots. Just don’t over do it, especially if you are using gestures that don’t come naturally to you.
Laser pointers: Ugh…(1995 called and wants its laser pointer back…) If you must use them, be sparing. You don’t want your audience to feel like you’re playing that game with your cat where you make it jump around all over the place chasing after that dot of light because it’s just so funny.
Be flexible: technical issues arise far more often than you’d think warranted given how little audo-visual presentation technology has changed in the past 10 years. We’ve got devices in our pockets that can let us video chat with someone around the world, but getting a microphone to work in a small room can still be a challenge. Prepare a Plan B, just in case the slides don’t show, or the sound fails. Being familiar with your material means being able to talk it through even if you have to abandon your slides altogether.
Smile: smile often, and naturally. Particularly if there is a photographer in the room. When you pause, smile. It only takes a second for a pro to get that great shot of you. And your audience will instantly feel more connected to you.
Stick around after the gig: if you’ve been invited to a conference to speak, if possible, don’t just jet in, do your thing, and whisk your rolly bag offstage to your waiting UBER to the airport. Sometimes it can’t be helped, but if you’ve got a bit of time, it’s courteous to your hosts and beneficial to your audience members to make yourself accessible after your presentation to meet with people one-on-one and be available to answer their questions.
Taking questions: keep the conversation moving, repeat the question of the questioner (if there is no audience microphone) so that everyone understands and hears it. If you don’t know the answer, say so. There’s nothing wrong with saying you will find out and have them connect with you after ward so you can let them know. Don’t skate around the topic and try to fake an answer. And if you’ve got a bully in the room who’s trying to throw you off or asking deliberately obtuse or aggressive questions, take back control and simply say (with a smile) that rather than waste the audience’s time with too much inside baseball you’d be happy to meet and discuss this after your talk.
It looks like a lot to think about, but the best advice is to remember that you are there to deliver a message. Keep the message simple, stay on point, and remember that communication is not just about the language you use, but how you use it, your tone of voice, and how you make your audience feel. Engage with them, connect with them and be approachable and friendly. Know your material and practice.
And don’t forget to smile a lot and often. Your audience, and photographer, will thank you for it.