When does pricing per image make sense?

When should a client and photographer opt for a per image pricing contract?

Pricing in photography has always been a challenge and will continue to be so as the demand for creative images increases in tandem with the abundance of suppliers.  While quality can vary considerably between photographers, the bottom end of the range has risen in line with technology so an average shooter ten years ago is now able to deliver reasonably good images with some basic kit that may meet the needs of some clients. On the upper end, the possibilities of what can be done with images in post-production, as well as the quality of images that can be captured and created now with top-line professional gear that can include virtual reality cameras like the Ricoh Theta S, drones and a range of pro lenses, is even more impressive and can satisfy even the most demanding of clients.

The struggle remains however, for the independent photographer, in determining the right price for their work when a request comes in from a new client. Given the paucity of full time jobs for photographers and the oversaturation of people in the field all calling themselves professionals, pricing for any given type of photographic assignment is really widely distributed. The range begins at free and rises up through the thousands for the same kind of assignment.

I recently read a very good and thorough article on PetaPixel by Rosh Sillars that explores the idea of pricing photography in 2016 in great detail. I recommend reading it for anyone – producer or buyer – who is in the market of hiring photographers, buying photographs or producing images. I want to focus on just one aspect of the article, regarding per image pricing as it is a concept I am beginning to explore with my clients and feel that in certain contexts it makes the most sense from both the photographer’s and buyer’s point of view.

Specifically, I want to explore types of assignments I am experienced in where it would and would not make sense to offer per-image pricing. I look at four types of photography: event, portrait, editorial/website and wedding.

EVENT PHOTOGRAPHY:

IMG_4420clean

Per image pricing? Not for most situations

One of the challenges an event photographer encounters with every gig is how to gauge what balance of images a client actually needs and will use vs coverage provided. In most events for which a photographer is contracted, there is a planned agenda which is followed with more or less adhesion depending on the client, type of event etc. While not every event has speakers or centre-stage activity, there will be a timeline and detailed plan for the night that an event manager has hashed out, often down to the minute. This holds true whether you are covering an international conference or a local wedding.  As the person responsible for providing visual coverage of the event, one of your tasks is to capture everything that happens – which includes both scheduled agenda items, as well as candid moments, beauty shots of rooms, important items, and often signage and evidence of sponsorship activity.  The result is a tendency to err on the side of over-shooting such that at the end of even a brief 2 or 3 hour event you may well have a few hundred images to subsequently sort through, curate, edit and then deliver to the client.

How would per-image pricing work in that scenario? I have never met a client who wants to pay more to do more work, which is exactly what would happen were a per-image pricing model enlisted in this context. Furthermore, some of the most beautiful and engaging images I have captured as an event photographer happen in those unscripted moments where people experience some kind of emotional uplift or response to each other. These images are often my signature pieces but would they make the cut if a client is suddenly sensitized to the idea of having to pay for each and every image?

I suppose the model exacts a discipline on both the photographer and the client to really focus in on the essentials, and this kind of a constraint can have a positive impact on creativity, but I believe it would have a greater negative effect on the overall workflow of the shooter and result in a less attentive, less responsive style of shooting that would skew towards the main event, ignoring or overlooking the often much more interesting, fun and engaging, off-stage type moments where the magic tends to happen when people gather.

PORTRAIT PHOTOGRAPHY

IMG_1100-Edit_pp1e

Per image pricing? Yes, almost always

Portrait photography much more easily lends itself to per image pricing. Often a client is booking for a number of employees, the shoots take place on site in the client’s office and there are invariably last minute additions when random employees wander past and see a photoshoot going on and beg to have a shot “so I can update my LinkedIn profile”.  A day rate or per hour contract in this scenario can be costly for the photographer as the workload is effectively uncontrollable. When shooting portraits in the client’s office, there is a lot of pre and post work involved, not the least of which may be physically accessing sometimes inconveniently located office spaces, navigating a labyrinth of loading dock, freight elevators and shipping doors lugging around the unwieldy collection of light stands, gear, etc., required to make everyone look beautiful. Then there is the set up-almost always in an office that is cramped and small-before the shoot happens. While each subject may not require more than 10 or 15 minutes, post-shoot there is the added work of sorting, and editing final versions of images that are highly scrutinized by their likenesses. It is not for the faint of heart and all in, a per image pricing model makes a lot of sense. How much per image is a completely different story of course, as the end result needs to still align with client expectations and counter the misperception that all you’re doing is pressing a button.

I normally calculate portraits on a per image fee, starting from a fixed base for the onsite studio set-up than a per head fee that can be adjusted based on discussions with clients vis-a-vis budgets, as well as the type of client being served.  I consider it fair to offer lower, more flexible rates to smaller businesses and charge full pop for corporate users. My pricing is based on a fairly elaborate calculation that takes into account not just all the work required to perform the specific task, but the overhead involved in marketing a corporate portrait business, and aftermarket support to clients.

EDITORIAL/WEBSITE PHOTOGRAPHY

0-312

Per image pricing? Yes, almost always

Thanks to the convergence of social media sites and formerly corporate websites, there is an ever-growing demand for fresh photography to populate an array of digital properties most companies have to manage today to ensure their brands stay relevant and they are engaging their customers where and how they like to be engaged. This generates, in turn, an  insatiable desire for imagery which is heavily skewed to photography. While video is a rising star in the digital marketing world, use-cases for video are still more restricted than photography. While it’s quite possible to envision a website with no video on it, it’s nearly impossible to imagine the same with no photography. And as most stock imagery these days is recognizable as such, clients with even a little budget are thinking creatively about their needs and hiring photographers to generate their own library of custom stock photography. It can be done affordably and may often be less expensive than the ostensible cheaper option of using stock images. But in either case, a per image fee makes a lot of sense here. Clients who hire photographers to come in and document a day in the life of their office space usually have a set of images in mind that they’d like to see at the end of the day. A talented photographer can work through that kind of list and add value by shooting the shot list with their own brand of creativity that can excited clients when they see the final results. As well, this can be a very low-risk type of contract for a client to enter into as there are no fees paid other than for the images they themselves select and place a value on.

For these kinds of contracts, whether the images are ultimately destined for internal client use, a public facing website or publication or media, the pricing per image should reflect both the effort and skill required to take them, as well as the post-production necessary. While some photographers will share unedited proofs, I believe this to be a terrible idea that is highly disfavourable to the photographer. A movie producer does not release a trailer of the unedited cuts. Most clients, regardless of their sophistication and experience purchasing photography, do not have the time and skill required to parse an image, as it were, and see it for its potential from an unedited proof. More than likely they will deem the work subpar, and judge the photographer accordingly.  While there is a risk to the photographer of editing a batch of images that may not, in the end, be purchased, this can be mitigated against by making a judicious selection of images to edit and share with the client initially. Once the client’s appetite has been whetted, more images can be processed and shown should the client express interest.

WEDDING PHOTOGRAPHY

A&M 1

Per image pricing? No.

Wedding photography (which I run through a separate weddings focused business here), is in my opinion, the mother of all excess and the source of the most widely varied pricing in the industry. This is due to a conflux of factors including: first time buyers, people spending other people’s money, vast gaps between expectation and reality when it comes to desired outcomes vs real budgets, and good old fashioned price gouging, exaggerated markups and unscrupulous vendors taking advantage of misinformed or unsaavvy buyers to charge huge, unwarranted premiums.

Now before all you wedding photographers get your corsages all tied up in a knot, I’ll say that some wedding photographers are truly gifted artists and power to them for charging as much as they can and finding receptive clients happy to pay. These comments are not for you. But for the wedding factory type photography outfits, the fly-by-nighters, and the countless hacks who claim to offer some kind of premium service when all they are really doing is grabbing at extra margin because they’ve inserted the word “wedding” into their portfolio, I believe the balance of power is shifting to consumers and your days of overcharging are numbered.

Brides and grooms, while subject to a vast array of marketing machines aiming for their wedding dollars, are becoming savvier and more prudent with who and how they hire. Paying a fixed package price that takes into account all the extras and additional work of a wedding is fair, but spending over $10,000 on wedding photography, no matter how jaw-droopingly beautiful you may be, is just a silly waste of money. Yes, weddings are a lot of work and they are rightfully a little more expensive than your average event photography contract. While the same skill set is required, given the intimate nature of the event, the vast number of guests who are all in their own way important, and the richness of opportunity for touching moments to happen and be captured by a sensitive photographer, there is necessarily an increase in effort that needs to correlate to price. Within reason.

I would not see a per-image pricing model as any way satisfactory for clients for their wedding. In a typical wedding photography contract a photographer works anywhere from eight to fourteen hours on the wedding day. There is often more than one location, multiple lighting situations to accommodate for, and a parade of necessary if rather formulaic images the clients will expect to receive. The photographer is also considered the expert and will have a leading role to play in organizing groupings, and managing the “formal” parts of the shoot. All of this is best covered under a blanket fee based on a blended rate that covers both time on the ground, as well as the significant post-production work that will be done on the images.

In reviewing these four types of photography assignments, it is clear that in all cases, the best pricing model for both client and photographer is aligned. Much noise is made in photographer circles about the costs of maintaining a photography business (expensive gear, high upgrade costs, time to market, etc) but I don’t think that is at all relevant to clients nor should it be. No one forces a photographer to go into business. If you are a photographer, you’ve chosen a career with variable income, and high operating costs. Complaining about that to your clients doesn’t get you better pricing and won’t make you more money. Choosing the right kind of pricing structure for the job that places the client’s interests above your own, on the other hand, will.

How to communicate brand consistency in event marketing

16339664626_d02e26ed33_z

How to get your goose to keep laying golden eggs

Companies spend a lot of time and money building and developing a recognizable brand. The purpose of a brand is to simplify and render the complex intelligible. With enough repetition, consistency and reliability, a brand can become established in its target customer’s mind as the “go-to” solution to whatever problem the brand solves. Your customers don’t get tangled up in choosing between competitive offerings – they just reach for you and move on. In brand marketing that’s the equivalent of having the goose that lays the golden egg. Again, and again, and again.  You just cash the cheques.

How come some brands get to be in that elite club of “go-to” solutions that render their customers blind adherents to the faith, while others struggle through churn and burn, constantly waging the same battle for heart-, mind- and wallet-share that never seems strong enough to convert tire-kickers into proselytes? So, how do you get that kind of brand loyalty (fanaticism)?

It begins, of course, with having a great product/service that is genuinely of high quality, but that in itself isn’t good enough. It also has to be a smooth and consistent experience for your customers. Although I’ve never owned the Canon’s 85mm L-series lens, I already own a few others with that signature red line and therefore know what to expect. I know that I’ll have one of the best in class lenses when I finally get one, because the brand has consistently delivered a quality product for each and every other of its lenses branded as “L-series”.  I trust that simple red ring and expect the workmanship, clarity, sharpness and handling of the lens to be excellent. I don’t really have to think about it. For a brand, that’s just pure gold. When your customers no longer have to process your product/service through any part of their decision-making brain, you’ve already won.

Do me like you do

One factor in engendering that kind of loyalty is consistency. Brands that can deliver a strong, consistent experience time and time again reap huge benefits, not just from existing, returning customers, but also the amplifying effects of those customers who evangelize for them, sharing stories about their experience that new customers then taste and feel in the same way, and the virtuous sharing circle just keeps getting wider and wider. (Like I’m doing right here for Canon).

But what if you’re not the manufacturer of high-end professional camera equipment, but rather a conference organizer, or a PR firm hosting a series of experiential marketing events around the launch of a new product, or an industry association or club that puts on a few membership driven events a year. How do you develop and replicate success when what you are selling is an experience rather than a physical product? How do you maintain consistency in all channels of communication that you are leveraging on behalf of your brand to connect with its tribe?

Firstly, you do it by creating an experience people want to be a part of. You are seeking to engage them for a time, asking them to forego everything else they could be doing to spend some time with you. Of course that means offering them entertainment, intellectual and visual stimulation, good food, strong drinks, and most importantly situate them in a roomful of people they will feel are sufficiently like them, to be both attractive but still offer an opportunity for making new friends. In effect, you need to target their tribe.

Neotribalism

tribalism-beach

Tribal marketing is about cultivating and offering a consistent story that communicates through words, photos and video what your particular events are all about so that everyone in the tribe – or who wants to be in the tribe – will instantly feel something when they come across news of your event in one of their social feeds, or by browsing online for events like yours.

To everyone not already your client their first interaction with your company will likely be through a third party (i.e. not someone you control) who will share with them a review, their comments and very likely pictures from the event to give their friends/colleagues/prospects a sense of what your event is all about.

In other words, the edge of your market is the people you don’t know that know the people you already sell to. And what they are going to do is share content and their reactions based on how your event made them feel.

Your job is to provide them with enough content to share in chunkable formats that are easy to carve out, and then deliver the same results for the new tribe members as you gave to the ones now spreading the word.

While that seems obvious, it is surprising how rarely companies take consistency in mind when contracting suppliers who will form an integral part of delivering that experience for your audience. These suppliers – the audio visual team, florists, caterers, photographers / videographers, etc are all delivering on your brand’s promise. If membership, attendance, and reputation has an impact on how your events are perceived by your target audience then the role of your suppliers (almost always outsourced) is critical in ensuring the experiences you are marketing are consistent and have the power to reach beyond current attendees through the amplifying effects of social media and word-of-mouth (WOM) marketing.

Hiring the same set of suppliers for your events – once you’ve found the ones that “get” your marketing and deliver exactly what you need to make your events successful, makes sense, even if you take your show on the road. It may look like you are being smart with your money when you hire a different suppliers for events in different cities, but the hidden costs are time/effort spent finding the right people, getting them all to work well as a team. There is also a risk to the all-important consistency that once attained pays dividends (I will always buy an “l-series” lens) but once lost is difficult to regain.  Maybe you can accept a degree of variation in the quality and consistency of the images you get from your event. Maybe your customers aren’t that discerning, or they don’t have a choice so they’ll always go with you no matter what kind of variable experience you offer them. If you’re in a business today that has no viable competition, where your customers don’t have any real power and you can blithely serve them up an inconsistent experience without worrying about them coming back, then congratulations. I guess you work for a telecoms company in Canada.

But if not, then consider that the apparent additional cost of using the same team of suppliers in terms of higher travel costs will be more than offset by the value add of customer retention, loyalty and brand consistency you – and your audience – can rely on.

4 tips for managing herd scatter at events

IMG_9697If you organize conferences you are familiar with what I am calling herd scatter: your presenter stands before a too large room with lots of white empty spaces between seats of attendees. Since your goal in hiring a photographer to cover the talk is to make the room look full, the attendees engaged and the presenter interesting, having a lot of empty seats in the images is counter-productive.

Here are four tips that can mitigate against that:

  1. Book a smaller room: if you only have 80 registered attendees and the room the conference centre or hotel has given you sits 400, you’ve got a problem. Often these rooms can be divided in half, or if that’s not possible, ask about any alternative spaces where your guests can still fit but the dead space is cut away.
  2. Block access to the back of the room: if you can’t switch spaces then cut off access to the back of the room where some conference attendees like to sit because it provides easy access to escape. It also virtually guarantees that your room will have big white holes in it where people avoid sitting too close together or up front. If you want a full looking room, you need to limit the seating options to where you want people to sit.
  3. Ask people to sit in the front: just like in school when the teacher tells everyone to sit closer, a very simple thing to do is to ask your attendees to move closer to the front as they are entering the room. Most people are easily persuaded to move as they know that the reason they are there in the first place is to pay attention and participate.
  4. Use engaging presenters: if audience engagement is what you are after, than pay some attention to the ability of the presenter you put in the front of the room to actually engage their audience. Reading long texts, reeling off bullet points and old clip art style graphics do not usually elicit strong reactions from audiences, regardless of subject matter.

Keeping people interested is a challenge when most conference goers hold in their hands a device with infinite capacity to distract. It is impossible to keep everyone’s interest corralled when people get pulled into work emergency emails, but these simple tips can help conference planners manage the way their events look when the pictures get delivered.

Advice for older women getting their photo taken

Let’s talk about age and women. It’s almost always impolite to ask how old someone is, but never more so when the person before you is clearly not your junior. But being a photographer confers a certain access and intimacy between strangers that would not otherwise exist. The curtain gets pulled back, so to speak, and since this blog is all about what goes on on my side of the lens, I’d like to share a few tips for older women being photographed at events.

I think these guidelines would apply to any scenario, but I am specifically talking about women at events having a posed or impromptu photo taken of them in a group shot. Why older women and not older men? Well, as much as I can riff on the much higher levels of vanity / insecurities I’ve observed in men having their picture taken, that is not my focus today.

First of all, even saying “older women” can feel discomfiting if you happen to fall into that category. It is far from a neutral phrase, unfortunately, and I write it with some trepidation. Because it is laden with bias and a set of preconceived connotations, mainly held by the women themselves who objectively would fall into this category. For clarity, I am referring to women in the 50+ range, but depending on your own particular insecurity you may feel it applies to you as well even if you are below that rather arbitrary cutoff. That itself speaks to the point I am trying to make, which is: you look better than you think you do and smiling and confidence go a long way.

Let’s break it down.

The group shot at an event

This could be either one of those posed shots in front of a media wall or backdrop, or it could just be you and a couple of your friends having a drink or grooving on the dance floor. Here’s what you need to know.

  • Your hair looks wonderful:  Just keep your hair out of your eyes. If you have a style that tends to curl in front of your face, a very quick stroke down and slight pull back on either side can help eliminate fly aways or crazy unreal sprigs of hair that shouldn’t be standing up.
  • About smiling: you must smile and even better, smile with your eyes as well. No matter how you are feeling, if you consent to taking the photo or have been dragged in against your will by one of your drunken more narcisstic friends, you have to make the most of the uncomfortable experience. Do not grimace, look deflated, neutral, unhappy or pissed off. The entire experience will only last 45 seconds at most, but a surly expression will never go away once that photo is taken. Smile. Feel happy inside. Fake smiles look fake.
  • Teeth or no teeth?: You can hide your teeth if you want, but when you smile, think about something you actually smile about. How much teeth you show does not really matter. More demure looks work better with closed mouth smiles, but big teeth smiles are inviting, vivacious and look great too. Go with whatever feels natural.
  • Go Chatter-free: People tend to chatter when they are posing in a group. Drinks, old friends, smoothing over awkwardness, nervousness…there are a lot of causes for chit chat but you will have a much better looking photo of yourself if for the brief time you are being photographed, you stop talking. This ensures that your mouth is in a position you control when the photo is taken, and not some weird contorted hole that vocalizations tend to produce. You never notice it in real life, but an image of someone taken mid-word often reveals far more about your dental habits than you would feel comfortable sharing.
  • Take centre stage: Where should you stand? If your arms and shoulders are exposed, then you want to be in the centre of the grouping. Standing on the edges will distort the shape of your body and make your arm look big which is probably the number one thing women hate seeing in pictures of themselves. Of course, somebody has to be on the edges and if it’s you, do not, in any scenario stand sideways, or try to squeeze into the frame by bending in or towards the centre of your group. Taller women should avoid the edges if possible, as should larger women, but if you are there, twist your torso outward toward the edge of the group, never inward toward the centre (see next point for more on this stance).

example1

  • Face the camera, with a slight twist in your torso: you want your face to be straight on looking into the lens, with your shoulders tilted at a slight angle. I’ve noticed a huge trend as a result of selfies, where women in particular do a kind of strange head tilting thing which is I think some kind of attempt to hide their chin. Don’t do that. It may be part of the selfie lexicon but it doesn’t work when you have a real photographer in front of you with a real camera.
  • Better out than in: What to do with your chin? Don’t do that thing with your face where you kind of back up, and tuck your chin down or in towards your neck. Sometimes this is just an unconscious reaction to having a camera in your face. Or you may think that it somehow conceals flabby neck skin, or makes your chin look more chinny. . It does none of these things. What it does is distorts your face, and crumples up your chin line and almost always creates a double chin effect and makes you look awkward and uncomfortable. What you SHOULD do, if you are conscious of your chin at all is very slightly tilt your chin upward and forward. The key is doing it as subtly as possible. You don’t want to look like Robert DeNiro in the Godfather, but a very subtle yet deliberate protrusion of the chin up and towards the lens will have a flattering effect on your face. This is particularly important and relevant to women with slightly rounder, ampler faces.
  • Posture matters: I know we’re not in the 18th century any more and no one goes to finishing school, but posture matters in life and in photos. Whether or not you normally carry yourself well, when the time comes for the photo, you have to buck up. Stand tall, put your shoulders back and think poise. It shouldn’t look uncomfortable or too forced, but don’t slouch, fold yourself into some strange position, lean, or bend, or try to hide. Take a moment to compose yourself if you need to – the photographer will wait. There is no need to feel or be off balance. No matter what shape you are in or think you are in, having good posture will ALWAYS improve how you look in a photo.
poised

Nailed it

  • Arms and hands: What about your arms and hands? No one ever seems to know what to do with their hands. I recommend taking a position that is comfortable but not lazy. Don’t try to hide your hands. You can cross them in front, resting them just across the belly, or you can go for a slightly sassier / more playful pose and rest one arm akimbo on the hip with the other just straight down in front of you. This works particularly well for women wanting to accentuate or boost the curvaceousness of their appearance.
  • Do the leg work: Keep in mind, in many event shots you rarely get the full body. It’s usually just not practical in a crowded setting, but there are times and places specifically where you could have the chance to be photographed in full length and particularly so if you are wearing a long and luxurious evening gown complemented by those very sexy shoes you’ve been dying to show off. A good pose is one where you have one forward facing leg tucked in front of the back one. This works well if your dress has a slit in it and you want that leg to emerge through it. You can also keep them both together, but whatever position you take (and it can vary depending on the number of others in the shot with you), don’t point your toes at the camera. Remember, angles are your friends, so though you want your face to be straight on, the rest of you should be working on an angle (remember the torso twist mentioned above).
  • Don’t fuss too much: your photographer – if she or he is a good one – is not your enemy. When I take a picture at an event – every single time – I check for whether all eyes are open and if the people in the photo look good. Our interests are aligned. A photographer who does not try to make his or her subjects look as good as possible is not doing a good job, and won’t get hired back. So relax, trust the professional and you will look good.

Want more? What to wear, how to wear it etc? I’ll be publishing a few more posts like these over the next few weeks and will be collecting all the tips I have for a free e-book I plan to publish this summer. Sign up on this blog and I’ll email you the free pdf when it’s ready.

signup.png

Total event coverage: virtual reality videos & photos

sapphire-selfie

Just when you thought (hoped) the end of the Selfie age was here…

The newest way to impress your friends, guests and bosses is to offer complete coverage of your next event. And by complete, I mean, showcasing the people and the event in 360º virtual reality videos and photos.

As many of my clients will attest, I am a bit of a gadget freak and I’m constantly looking for ways to add value for my clientele and bring in new tech tools that make them look good. In addition to my standard professional gear (two cameras, multiple lenses) needed to really cover any event, I’ve also starting using drones, time lapse cameras and now, my latest acquisition, a Ricoh Theta S – a 360º camera with built in wifi that shoots and records images and videos for virtual reality applications.

It is really quite fun to play around with new tech and one of the perks of being a photographer is that I get to indulge my neophilia as part of running my business.

And it makes for a brand new view on the traditional family portrait.

As usual when I get a new toy, the first I thing I do is not read the manual. I just take it out of the box and start messing around with it. As an experiential learner I find it’s much easier just to use it and see what it can do than try to read up on everything in advance. I guess I’m also just too lazy and find pressing buttons easier and more fun than reading tech manuals.

So far I’m really excited about the potential with the Ricoh Theta S. While the image quality is still below what I would consider professional grade, the sheer novelty factor and ability for people to view images in full virtual reality more than outweighs the need for ultra sharp imagery. The first time someone sees one of these images there really is significant wow factor. I imagine it’s maybe similar to the first time someone ever saw a photograph in the early 1800s.

Basically, the device (which can be attached to a tripod or even, I’ve discovered, a selfie stick) shoots from both a front and rear facing camera at the same time producing a complete image that allows you to either “move” through it wearing a virtual reality headset (or popping your phone into a Google Cardboard type viewer). Or you can view the image on a regular screen and spin it around with your finger, seeing the image from all different angles.

Using the built in wi-fi, once the image/video is shot you send it to your phone (you have to download the free Theta app) and from there you can view the image, or share it. There is no viewer on the device itself.

The one drawback for now (which I’m sure will change as vr viewers become more commonplace) is the shareabilty of the images is rather limited. I can share photos to my Facebook, Twitter or Tumblr but not directly through email for some reason. And what gets shared is a link to the image sitting on Theta360.com.

Sharing videos seems to work a bit differently. You can email these directly (though I’m still trying to figure out why they can be emailed but don’t appear in my Theta account).  You can also upload videos directly to Youtube.

It’s definitely easy to use, fun to play with and will surely be a conversation starter for your guests and attendees.

Photography never stops evolving and with each new piece of tech that emerges, a new way of telling a story comes along with it. Event coverage is about to get a lot more exciting.

 

 

 

How to survive as a freelance photographer

How do you survive as a freelance photographer?

I encounter a lot of people who are curious about what it’s like making a living as a freelance photographer. Because I often go into offices during the work day to shoot an executive or pickups of office life for company websites, I am in contact with lots of people doing a lot of different jobs.

And I see the look of incredulity on people’s faces when I tell them what I do for a living. They can’t quite seem to fathom that in this digital age where everyone is armed with a camera in their pocket, and people are uploading hundreds of millions of photographs daily to Instagram and Snapchat, that anyone could possibly earn enough to survive by just being a photographer.

And while I am not “just a photographer” (I do a lot of freelance writing as well), photography is my main occupation and what I fill out on customs cards when I travel.

Do it for love, not money

I am the first to admit that photography as a career choice is not one made with an eye to getting rich. Indeed there are very wealthy photographers out there, those who shoot celebrity portraits on exotic beaches, for example, but I am not one of them, and the vast majority of working photographers are not either. Gigs come and go, clients come and go, and you are never guaranteed anything. It is not a surefooted, clearly marked career path and there is no security. So if you are looking for anything of the sort, it may not be the best choice for you.

It is, however, one of the best jobs in the world if you enjoy meeting a lot of people in a wide range of contexts, and engaging with each one of them on a human level. One of my first ambitions in life was to become a journalist, and though I never realized it, photography affords much of the same exposure to different situations, different groups of people and an array of ideas (if you keep your ears open as you do your work) that is very exciting. It is totally unscripted – one day you may be doing a CEO portrait in an office tower, the next you’re covering a tree-planting team building event in a city park, but the opportunities are truly endless for encountering new, interesting people and getting a snapshot of who they are by being a fly on the wall in their every day lives.

So if you love meeting lots of different people and having many interactions throughout the day (if you are covering a large event like a conference or tradeshow), than it is a very fulfilling job.

Get your hustle on

How do you get business? In that sense it’s no different than any other freelancer gigness out there. Whether you are a writer, a designer, graphic artist, videographer or the guy who sets up window displays for shops on High Street, getting gigs is about showing up, doing your best work every time, listening and understanding what your client really needs, delivering everything you promise (and more), and then doing it all over again for the next client. And the next. And on and on until one day you get a call from someone who says they heard about you from someone else.

While you can never stop hunting for new clients – and that can mean making cold calls, running e-mail marketing campaigns, maintaining a blog with regular, useful content, and good old-fashioned networking both on and off-line – holding on to the clients you have is also part of the job. If you develop a good relationship with your client – mainly by doing good work consistently for them – you earn the benefit of their repeat business. Having a few regular clients can help smooth out some of the variability in your income and provide a degree of security, though nothing ever lasts forever.

Developing your hustle muscle is also critical. I never go to any gig without a pocket full of business cards, and my spiel ready to deliver at the right moment if I meet a prospective future client. While the main focus is always on the paid gig at hand, part of photographing people necessarily entails talking and connecting with them. Not doing so makes you that awkward shooter lurking on the sidelines and yields a crop of photos showing people with slightly annoyed looks on their faces at your interruptions. You have to interact, and mingle, professionally. Sometimes, in so doing, you’ll meet someone who might need what you’ve got to offer and you follow up. I’ve landed a lot of new business this way.

Don’t let your love go cold

Finally, staying at it and always looking for ways to up your game or improve your skills, tools and technique is all part of the job. You are only ever as good as your last job, and no body cares how expensive your gear is. They just want great photos and it’s your job to get them done.  I read up on photo news, stoke my perpetual gear lust with Pinboards full of the latest gadgets, and experiment constantly with new approaches to my work.

It’s very important not to let your passion ebb away by letting your work go stale. After the 100th portrait of the old guy in a suit against a grey seamless backdrop in a cramped little fluorescent lit office downtown, you may be tempted to just mail it in. But that would be the beginning of the end of your career, I believe, because to that man, this portrait means something. It’s a sign his company is investing in him, a chance for him to show who he is to his clients or to accompany a news article about his recent accomplishments. Having your portrait taken is something to be proud of, and it’s important to always keep your emotional IQ running high to ensure you never lose sight of what a photo is really about.

Taking good pictures, and being the kind of photographer people like and want to hire is ultimately not about the tech you are using, or any tricks you’ve learned along the way. Yes, you need to understand your gear, have mastery over the tools you have, and not flub the shots technically. But the most important aspect of the work is making sure your heart is in it, and keeping it there.

Stick with it

stick-309861_960_720

Mr. Stickwithitness

Being a freelance photographer is really an amazing life. I’ve been able to travel, meet interesting, friendly and wonderful people and see places and things I never would have were it not for the work. That’s imparted a very deep sense of gratitude in me and a respect for my work. I truly believe that it’s a privilege to be hired by every client, and every client deserves my best work. If I let that slip, even a little, it’s the beginning of the end for me.

The work is important. The gigs will vary. You’ll have to nail your pricing and be flexible and able to talk frankly about cost vs. value, and you’ll need stamina. All entrepreneurs will tell you that it takes twice as long as you think it will to be successful, and will cost twice as much as you expect it will to get there.

How you define “success” of course, is up to you. I consider the option to wake up every day, direct my efforts towards my goals and do important work for great clients a success. And as my economics professor once told me, I’ve got “stickwithitness” which is probably the single most important thing you need if you want to make it as freelance anything.

Leveraging the “experience economy” for your next event

We just met

We just met

You have to love marketers. Every few months a new catch phrase captures their attention and suddenly everyone is seeing the term pop up in their email subject lines like it’s a brand new idea, discrete and different from what’s come before and promising new riches to companies that figure out how best to leverage the trend for their wares. The “experience economy” is one of those terms being mooted as what the next big target – Millennials – is living in and how they are choosing to spend their money.

Waxing poetic in bed...

Waxing poetic in bed…

Because they’ve been saddled with student debt, and are priced out of the housing market in most places where they also stand a reasonable chance of getting a job (though probably not with much security) what this coveted and growing cohort of individuals likes to do is “have experiences”, hence the term. I would add that they also really like to share the experiences – of travel, shopping, going out, eating out or cooking at home with friends -across social media on the myriad platforms they engage with hourly.

If experience is the new black, photographic evidence of your experience is the new way to display your wealth. Despite another (complementary?) trend towards minimalism, judging from what is shared on Instagram there still appears to be a strong appetite for furnishing social proof of a non-materialistic, world travelling, lifestyle replete with lots of friends, good food and pithy moments of communing with nature. In the connected, sharing economy, one of the most liquid commodities is photography.

Let’s take a Selfie together

Selfie in Tuscany anyone?

Selfie in Tuscany anyone?

Experiences today are easier to share than ever before. It doesn’t take much effort to snap a Selfie in front of a made-for-postcards backdrop (much easier than actually sending a postcard!) and post it online. I can’t really share my home with all 778 of my Facebook friends, regardless of how many dinner parties I want to host, but I can easily and quickly share photos of the meals I’m cooking and get almost the same level of neuronal strokes that make me feel good about myself as I would if I had actually invited them all over for dinner.

In fact, the sharing of the experiences seems as important – or more – than the having of it in the first place. Does a tree falling in a forest make any sound if no one is around to hear it? The enigma can now be answered in as much time as it takes you to open up Snapchat with your thumb: NO. For the digital nomads living and working in the experience economy, if you did something and didn’t share it, it didn’t happen.

We love ourselves

We love ourselves

The more images people have of themselves, preferably in exotic locales with lots of different (ideally good-looking and/or famous) people, the greater their apparent wealth. For businesses trying to decode this trend before it transmutes into something else, the trick is weaving your brand or product into these snapshots of shared experiences without it looking like crass product placement. Doing so successfully involves creating a lifestyle around your brand that your prospects – or the people who influence your prospects – accept as authentic and real enough to want to incorporate into their own stories. It also means giving them something fun to photograph.

I’ll add that to My Story

In the experience economy, where social media are the new nation states and the social proof created through photos and videos, the new global currency, creating opportunities for good photos can grab a lot of attention cheaply.

people-in-front-of-giant-wall-graffitti

It’s all about the backdrop

If you’re a brand hosting an event, this can be achieved by paying a lot more attention to lighting and the visual elements of your set up than you might have done previously. It also doesn’t hurt to offer good quality booze, hire local chefs and serve original and satisfying food as well but making sure you help people take, get and share great pictures of themselves is critical.

I’ve covered hundreds of events and I’ve observed that no matter what the theme, all people at events have one thing in common: they want to get past that awkward, initial standing around phase fast. Having something fun to do (and good to drink) – whether that’s an onsite photo booth or some kind of custom prop that ties into your brand – helps loosen up the crowd and gives them a chance to start generating and sharing photos of their experience.

Or we could play spin the bottle?

Or we could play spin the bottle?

Are there fun props you can custom build that tie into your brand and are fun to pose with? Think giant shoes people can climb into, or maybe a couch shaped like a bra if you’re trying raise awareness for breast cancer. What about filling an old cast iron bathtub with your product…Setting up old school amusement park games with a twist? Anything normal turned supersized works, as would anything suspended or hanging from the ceiling. Can you implement a viewing platform somewhere higher up to afford interesting views or angles? Selling a tech-related product? What about setting up old style phone booths – the kind that used to be on every street corner but are now disappearing. Irony is still in (sort of). I can think of countless more ideas for brands with photographable products or services that can benefit from the experience economy – anything from booze to insurance. (I love coming up with ideas like this – just get in touch)

The best stories are still unfolding

The best stories are still unfolding

In the end, having experiences is just shorthand for story, and everyone today is engaged in telling and retelling their story across varied social media channels in the universal language of images. Words are being replaced by icons, emotional responses measured by the size of your emoji and lives measured by the breadth and reach of social followers. 

Giving your audience/market something new, fun, and interesting to do, document and share is a powerful way to connect with and stay connected to the people who matter to your business most. 

If your company is in the business of putting on events of any kind (a product launch, sponsored reception, brand elevating evening, etc) you are now in the business of creating experiences. Get it right and one of those experiences everyone is sharing just might be a photo of them using something you’re selling.

What is social mediagraphy?

julianhaber-snapchatPhotography + social media = social mediagraphy

I love making up neologism and one I’ve recently started using to describe my event photography service offering to clients is social mediagraphy. I used to be able to work exclusively as a photographer, documenting an event or covering a conference then delivering the set of edited images to my client for distribution through their communications channels like newsletters, websites and the like. This is no longer sufficient for today’s market which demands a steady and constant flow of snackable content, in real-time, to keep audiences engaged and re-engaged throughout the course of an event.

No large event today is deemed to have happened if it doesn’t have its own # and generate volumes of Tweetable, and re-tweetable content. And as a photographer, I’ve learned to adapt and actually enjoy the connectivity and heightened appreciation for my work that this behaviour brings.

Where I used to be an invisible service provider, working away in a kind of obscurity producing images that would be used long after my work was done, I am now often thrust in the middle of the action, generating and sending out my own socially-media-friendly Tweets, Instagram posts and LinkedIn content as it relates to what I’ve been covering as a photographer during an event. And clients appreciate it, because it helps them with their goals of generating interest and sparking conversations surrounding the content they’ve pulled together to mount their conference, or to satisfy the needs of their membership, boards or communications teams who work hard to show ROI on the big events they develop.

Social mediagraphy, as I would define it from the point of view of a photographer, is the combination of both traditional event coverage with frequent bursts of social media activity. In my case I will use my phone during events, and then later on post edited and refined images from the day’s coverage. Post-event, I’ll usually follow up with a roundup or a few blog posts relating back to the event, or a particular piece of content that resonated with me that I think bears reporting on for my audience.

If a quote happens at a conference and nobody Tweets it, does it matter at all?

Once the content is created and pushed out there, it can, and often is, picked up by event attendees who sometimes add their own commentary to the posts, or simply retweet or repost the content so that it reaches ever-widening circles of influence.

workingAll of this helps increase the impact from an event and enables event organizers to leverage their attendees to extend their reach into their networks, as the people at one event are usually connected to a bigger number of people outside of the event for whom the event also has appeal. Aside from seeding sales and requests for invitations for future events, this also helps validate the relevancy of the event to its target audiences and provides context for people on the outside who may be curious and become interested in learning more simply by coming across one or more of these social tidbits as they float through their ever-refreshed news feed. It’s also fun and a great way to make new friends.

Change is good

Change is at the heart of all technology. Photography is no longer sufficient on its own to meet the demands of clients who find themselves having to publish content in myriad forms to satisfy the needs of their audiences. Gone are the days when you could shoot an event, deliver your work weeks later and charge a premium for the service. Whether your event is a wedding, a corporate gala, AGM, trade show or a conference, photos are now but one layer of social proof needed to help augment and enhance the experience. Of course this requires new skill sets and familiarity with constantly changing tools (I’m still fairly lame at Snapchat but working on it) but that’s part of the fun of photography and working with technology in general. Rapid change is the constant of our times today and the only way to not drown in it is to embrace it.

Baby it’s cold outside – but  these warm-hearted Montrealers are heating things up

My view this afternoon from Cafe Shaika

My view this afternoon from Cafe Shaika

It’s cold in Montreal today. -10 Celsius and dropping. While it’s bright and sunny outside, it’s more fun to experience cold winter days like this through a window from a cosy café, which is my plan for this afternoon as I put together my roundup of events I covered so far this year. Luckily there are lots of people still braving the cold and getting out there for worthy events in these winter months, keeping me busy. Here are a few highlights worth sharing from goings on around town in Montreal this past January and February.

Here’s the link to the roundup in pictures. Please read on for details on the various events.

ProductTank MTL

ProductTank MTL

Montreal’s got a talented pool of tech entrepreneurs, developers and product managers who’ve now got another monthly  meetup/chance to drink and network with the monthly events hosted by ProductTank MTL. This month’s meet up which I covered at l’Appartement (one of Montreal’s hip resto/bars in Old Montreal), focused on the Internet of Things (IoT). According to Gartner Inc.: “ The Internet of Things (IoT) is the network of physical objects that contain embedded technology to communicate and sense or interact with their internal states or the external environment.” 128 people had gathered to hear presentations by Jean-François Martin, Director of Products at mnubo; Yahya El Iraki, CEO at mySeat and Mathieu Lachaine, Founder and CEO at Ubios. All three speakers are involved with connected products and had interesting, behind-the-scenes insights and advice for people interested in the exploding Internet of Things (IoT) space. Gartner forecasts that “6.4 billion connected things will be in use worldwide in 2016, up 30 percent from 2015, and will reach 20.8 billion by 2020. Yes, that means that your fridge will be able to order beer for you when you are running out and your toaster will be able to keep track of how much multi-grain toast you’re making.

Interested in learning more and attending the next Meetup? Check out ProductTank MTL here: http://www.meetup.com/ProductTank-Montreal/

Pedal for Kids / Pédalez pour les enfants

pedal-for-kids

Anyone who knows me, knows I love children and that I support child-friendly causes. I’ve been lucky to work with the Montreal Children’s Hospital Foundation (MCHF) for the past two years which puts me right in the heart of a lot of events aimed at raising funds for much needed equipment and programs the Montreal Children’s Hospital uses to save and improve the lives of sick kids. I rarely cover one of these kinds of events without something making me tear up and hide behind my camera, and the kickoff cocktail for the 25th anniversary of Pedal for Kids was no exception.

The Pedal For Kids / Pédalez pour les enfants event is one of the most fun and exciting fundraisers organized by the MCHF. I had covered it earlier this summer but had not had the opportunity to hear Michael Conway, one of the events co-founders, speak until this month. Sylvie Lalumière and Michael Conway launched Pedal for Kids in 1992 in memory of their daughter, Meagan. By the time he was done I was ready to put on my spandex suit and bike until next summer. If you’re curious or would like to get involved with Pedal for Kids check them out here. You can join an existing team, create a new one or go solo. Sign up here: http://pedalez.com/about-the-event/

30th annual Vision Celebration Fundraiser Gala for the Black Theatre Workshop #OscarsSoWhite

Black Theatre Workshop

Earlier this year I covered the Black Theatre Workshop’s 30th Annual Vision Fundraiser Gala and also marks the launch of Black History Month in Canada. This is my third year covering this party and I am always blown away by the talent in the room, both onstage and off.  The evening was superbly hosted by Nantali Indongo (of Nomadic Massive fame) with performances by Montreal’s Jireh Gospel Choir,  Kim Richardson and Daniel Loyer, and the coolest (and only) reggae version of Adele’s Hello that I’ve ever heard as part of DJ Don Smooth’s soundtrack for the night.

The guest of honour was Jackie Richardson, aka, Canada’s First Lady of gospel, jazz and blues who received the Martin Luther King Jr. Achievement Award. Also on the roster were: Otis Grant, world championship boxer who received the Dr. Clarence Bayne Community Service Award; Briauna James who received the Victor Phillips Award, and Vladimir Alexis who received the Gloria Mitchell-Aleong Award. Artistic Director, Quincy Armorer couldn’t be physically present as he was performing in Twelfth Night in Ottawa’s National Arts Centre, but he made an appearance via Facetime.

Here’s a sample of the Jireh Gospel Choir in action (rather poorly filmed on my iPhone)

University Club Arts Event

Logo-UCM-blanc

Though sadly I missed the Beaver Hall Group show at the Montreal Museum of Fine Arts, I was lucky to catch a sneak peek at the curation of the event at a arts event held at the University Club of Montreal. I love the old world charm of the club, and events like these are a reminder of Montreal’s historic and ongoing role as a city of the arts.

Is there really a difference between event photographers?

Mike Harris
Mike Harris

Mike Harris

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.

FI-JACK_COCKWELL 17That’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.

FI-JACK_COCKWELL 407

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.

FI-JACK_COCKWELL 394Hiring 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.

It’s how you make them feel that matters

tribe 11I’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.

tribe 2And 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.

tribe 3

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.tribe 6  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.

What you should — and shouldn’t — expect from your conference photographer

Speaker on stage
Seth Godin presenting at the Cisco Partner Summit 2015 in Montreal

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
ciscops15-general-session_0099

Conference attendees

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!

You are somebody – so smile

RTRMTL 12

I am somebody

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

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

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.

You are somebody.

 

Lessons learned providing citywide conference photo & video coverage

 (Julian Haber)

Be Bold – Cisco Partner Summit 2015 theme image

I’ll preface this by saying I’m an experienced conference photographer and know the difference between a breakout session, general session and collaboration lounge but working on a citywide convention across multiple venues with a fleet of photographers is an order of magnitude more complex when it comes to conference photography. How is it different and what did I learn?

Let’s start with a baseline (or just skip down to the end of you want the 6 key takeaways)

What’s needed to provide standard conference coverage?

A normal conference may require one to three photographers. The conference will take place in one of the designated conference centres of your city (in Montreal’s case, that’s usually the Palais de congrès, though sometimes a commodious hotel like the downtown Sheraton, the Delta on University or the Fairmont Queen Elizabeth).

General Session at Palais de Congres (Julian Haber)

General Session at Palais de Congres

A regular conference has a general program with a few designated speakers, a keynote welcome address and wrap-up remarks, panel discussions, Q&As, and smaller breakout sessions. Depending on whether the conference is academic or business oriented, there may be more or less focus placed on networking and meeting sessions, though all conferences comprise scheduled blocks of time for formal networking, along with looser time and space for informal meetings and networking. Presentation areas with booths, posters and product displays of participating members or sponsors will also be included.

As a photographer, the general mandate is to cover all scheduled events on the program. This kind of coverage should include “beauty shots” taken of the various venues before attendees are in the room, shots of the speakers on stage from all angles, high quality images of rooms full of attendees looking interested and engaged, and any particular activity that takes place on stage such as award ceremonies.

On the topic of “beauty shots,” clients enjoy seeing photos of the spaces they’ve created, before and after attendees fill them up. This would include general meeting areas, as well as designated lounges, eating areas, registration desk and any sponsored booth or presentation area.

There are often social events that feature as adjuncts to the conference. These may or may not be organized directly by the conference organizer. Typically they are cocktail receptions, followed by dinners and occasionally parties and even after-parties. They may take place in the conference venue, or offsite at a preselected restaurant or club. In Montreal most of these kinds of events take place in restaurants or event spaces like Centre Phi, The Montreal Science Centre, The Belvedere, and Windsor Station and tend to be within walking distance of the main conference centre. But trendy restaurants/bars like Joe Beef, Newtown, the Burgundy Lion, Drinkerie,  Verses Restaurant, Time Supper Club, Scena, Le Pois Penché, Café Ferreira, l’Autre Version, Auberge St Gabriel, Galerie MX, Cirque Eloize, le Windsor, New City Gas, Dominion Tavern, Loft Hotel, le Plateau (W Hotel) ,the Rialto TheatreCabaret le Lion d’Or, are also popular venues for post-conference parties, too.

A typical shot list will include:

  • Images of the venue(s) with and without people
  • Attendees mingling, networking, attending sessions, making contacts, doing business and having fun
  • Speakers at podium (shot from front, side, near and far)
  • Award ceremonies including individual recipients being granted their trophies and group shots of award-winning teams
  • Executive group shots
  • All sponsored and branded items, including booths and posters (if the conference is academic or scientific)
  • Cocktail receptions / VIP events

How does a citywide convention differ from a regular conference?

The difference between a regular conference and a citywide convention, to state the obvious, is scale.

Where a regular conference may take place over one to three days, a citywide convention may span a week, with pre-conference activities starting well ahead of the general sessions.

As well, there is a much higher order of project management and coordination skill required as many events will be taking place simultaneously across multiple venues.

 Seth Godin, speaking at Cisco Partner Summit 2015 in Montreal (Photo: Julian Haber)

Seth Godin, speaking at Cisco Partner Summit 2015 in Montreal

While providing complete coverage for the recent Cisco Partner Summit 2015 in Montreal, at one point I had over 10 different photographers/videographers fanned out across the city covering awards ceremonies, cocktail parties, and a slew of various auxiliary events for clients from around the world.

Managing and creating the schedules for the photographers and ensuring each on-site client had all the information necessary as well as providing the same to the photographer alone takes a few days of coordination. Communication is critical, particularly when there are (which there always are) last-minute changes to the schedule and additional requests.

One particularity of working for a global enterprise like Cisco is the level of professionalism required. There is no room for error when covering an event that comprises over 50 different events needing coverage and a traffic flow of over 4,000 attendees. Execution must be customer-centric, flawless, and timely, and that’s precisely what my team and I delivered.

We set up an on-site office, staffed with technical support, just to manage the intake and processing of the over 35,000 images generated from the coverage. All of these images needed to be edited, sorted, categorized and uploaded to shared drives with a variety of clients requiring access to the images within 12-24 hrs of them having been shot. This always-on, near-instant turnaround on such a heavy volume of images is one of the key distinctions between this kind of massive convention and a smaller scale conference. Things like connectivity, upload speeds, etc. become critical.

World class client service is also paramount. For an event at this scale, there is not just one client – there are numerous clients, all requiring the same level of service and attention to detail:

  1. There is the ultimate client, Cisco, within which there may be 10 or more individuals with photography or videography needs that must be met.
  2. Cascading down there is the event management company that creates and manages all the logistics of the event, who may be the direct client, within which there are also a number of event specific clients.
  3. Then there is the AV team, responsible for the screens, sound and lighting; managers responsible for the interior and exterior signage; food and bev directors, caterers, decorators all of whom may need specific images for their own purposes which may all fall under the responsibility of the core photography team.

I personally dealt with more than 20 different clients, all of whom are equally important even if only a few are actually paying for the service.

With the management, coordination, pre-show preparations and post-show post-production on images, and after-market service, one citywide convention like this can require a month’s worth of work, compared to a week or less for a scaled down single focus conference.

It can be exhausting, with days stretching from 5 am to well past midnight, and stressful, but it is also hugely satisfying to complete. Because of the high level of organization and the size and scale of the client, everyone working this kind of event is at the top of their game. Professional, organized, supremely competent and almost invariably a pleasure to work with.

So what did I learn?

  1. As the old adage goes, the client is ALWAYS right. Courtesy, respect, delivering on time and within budget goes a long way towards ensuring the experience is positive for everyone involved. So does being responsive to last-minute changes and providing the same level of highly customized service before, throughout and after the event

  2. Keeping the team of photographers in the loop and informed of all client needs and requirements is equally important. While photographers tend to be independent self-starters, they benefit from and appreciate being made aware of the bigger picture (no pun intended!).

  3. Establishing and maintaining clear and open communication with clients is essential at all times. The way I do this is through active listening, identifying the client’s needs, and proposing innovative solutions to potential challenges before they even materialize.

  4. Providing visual examples of the types of images needed to your photographers helps guide their inherent creativity towards the client’s specific needs.
  5. Online collaboration tools like Box and Dropbox are necessary to ensure wide distribution of images to all clients.
  6. Keeping focused on the end purposes of the images helps navigate the editing process to ensure timely delivery  —this is especially true in the case of the Cisco summit where, as mentioned, we needed to process thousands of images in a very short time period.

Taking on a citywide conference mandate is not for everyone. Many photographers are excellent at what they do but lack the interest or the skills required to manage an operation of this scale. But getting to play in the big leagues means you have to step up and move outside of your comfort zone, no matter what business you are in, and I’d do it again in a heartbeat.

Check the images below for a sampling of Cisco Partner Summit 2015.

Winning at fundraising for Room to Read

RTRMTL 168

John Wood, Room to Read cofounder, speaking at Montreal’s Destination Global Literacy event on May 7, 2015

I’ve been an event photographer for over a decade and have covered countless fundraisers, but I am especially proud of my involvement with the Destination Global Literacy event the Room to Read Montreal Chapter held on May 7th, 2015 in Montreal. As a member of the Advisory Board for the Montreal Chapter, and a father of a young daughter, I couldn’t be more supportive of what Room to Read is trying to achieve: literacy for all, gender equality, and sustainable educational centres in parts of the world where opportunities are few – and even fewer for the poor and illiterate.  

Last night we were treated by Room to Read’s founder, John Wood, who cheered on the roomful of donors (and Habs fans=) and helped push our fundraising efforts over the top.  By the end of the night we had raised over $200,000. RTRMTL 173

One particularly generous family who chose to remain anonymous offered up a dollar for dollar match up to $75,000. Considering the cost of putting ten girls through secondary school for a year in Room to Read’s Girls’ Education Program is $3000, or the price of a book printed in their local language is $1, that’s a lot of life changing money being spent directly where it will impact the lives of the students themselves and the communities they will grow into and improve.

Below are a few sample photos from the event with more over here on my portfolio site: Room to Read Montreal Chapter Event, May 7, 2015 hosted by BMO

Why you want a social photographer to cover your event

Most conference, summit and corporate event planners these days try to cast a virtual net by linking their event to a centralizing set of social media hashtags – mainly for easy findability and shareability on Instagram and Twitter. Making sure your event photographer is aware of these unifying communication tools and using them appropriately can help you get maximum value from your conference or event photographer.

Photographers are all seeking to cultivate their own realm of influence in social media. One mutually beneficial way to reach into different networks is to provide bits of snackable content generated by events as they happen.

Personally I’ve grown to enjoy using Twitter and Instagram to jot down insightful things I pick up while observing conferences or to help my client broaden their event footprint by creating and quickly sharing images guests and attendees will want to reshare.

It’s not always a perfect fit – while covering the Governor General Performing Arts Awards press conference (#ggpaa) in Montreal this month I actually tweeted out the name of a recipient BEFORE the official announcement (deleted 2 minutes later after a politely urgent message from Ottawa) but when it works, it helps spread the excitement and generate buzz about the event.

Not all photographers are going to want to multi-task for you, but it doesn’t hurt to ask for their social handles and add them into your network, while sharing with them the hashtags and IG names they should reference when getting social with your event images.

And sometimes, sharing is also really funny. Like this old SNL clip of Fr Guido Sarducci’s 5 Minute University that I saw at a recent conference on autism I immediately had to go find and watch. Screen Shot 2015-04-21 at 3.25.37 PM

Have you claimed your local business address on Google+?

This is a puzzling stat and there are many more if you search #OnTheMap on Google. I don’t really understand why more businesses aren’t all over this easy and free way to promote their businesses. According to Google’s research (which I’m going to bet is pretty robust given the petabytes of data on virtually everything digital in the world today) customers are also 38% more likely to visit businesses with complete listings. Here’s that stat again in a more snackable/Pinnable/Instagrammable/Tweetable/LinkedInable format:

Google is really pushing this initiative and offers oodles of free advice and tools on how to list your business and easily add content to your business Google+ page like photos, blog posts, panoramic tours, etc. Here’s a link:

By updating your business info on Google Search and #OnTheMap, you make it easier for customers to find what they’re looking ––> you! Use this tool to make sure your Google listing is complete: http://goo.gl/vW52mC

I work as a freelance photographer, out of my home. Notwithstanding, I’ve created my Google+ Business Page (listed here as JulianHaberPhotographyMontreal) and so far am seeing a few nice things happen online that are favourable towards my business.

  • I’m popping up at or near the top of the first page of Google search results on phrases clients would use to find me
  • My posts feature a little picture of me next to them and show up as independent results (maybe this is just an ego-stroke, but it’s kind of cool seeing your posts accompanied by your headshot)
  • I’m finding more and more interesting ways to leverage Google+ to create an interconnected web of links referring back to my main blog (this one right here) and my portfolio site at Julian Haber Photography
  • I now have a convenient way to gather reviews – the new currency of the digital world – without relying on Yelp’s sometimes inordinately choosy algorithm that seems to arbitrarily quarantine reviews it deems “not recommended” primarily because their authors have little or no previous activity on Yelp

For these reasons alone I will continue to explore, experiment and develop my digital real estate with Google, but if I also had a physical, real-world, public facing business I would be even more heavily invested than I already am. The virtual tours alone are worth the time it takes to build up your business page (think Streetview but INSIDE your business). Here’s an example of a 360 panoramic tour of the inside of a place I’ve seen the inside fairly often: Brutopia pub in Montreal:  How cool is that really?  Almost as good as having a pint at the bar itself=)

So, if you are one of the 63% of business in Canada who still hasn’t claimed your local business address on Google+, what are waiting for?  Click here and get started.

Why preservation of old theatres matters – a visual tour of the Tampa Theatre

As a Montrealer, I am always grateful for any chance I get to walk around in March wearing shorts, so when a friend offered to give me and my family a tour of the old Tampa Theatre, I accepted immediately without thinking. I knew nothing of the theatre’s history or what to expect when I walked inside, which made the experience all the more exciting. To call it a “gem” aside from being a clichéd worn out description, really doesn’t do it justice. It feels to me like a time machine that transports you almost immediately into another era, before people had a million different ways to connect online and consume entertainment, wherever and however they want to.

The Tampa Theatre was designed in 1926 by architect John Eberson. He was one of the leading architects of his day known for the “atmospheric” style of design. A kind of all-embracing style that immerses you in an architectural experience with attention paid to every detail, all attuned to providing a singular experience of place that effectively absorbs you into itself so that you forget almost immediately the world you leave behind upon crossing its threshold. The tiled floors, stucco walls, carved and painted columns all conspire in the effect, culminated by an incredibly realistic “night sky” ceiling.

Theatres like the Tampa Theatre were cropping up all over America through the 20s and 30s and were the places where people gathered to watch the first motion pictures, newsreels and experience opulence at every day prices. They were roaringly popular well into the 60s when attendance began declining as families began moving to the suburbs and watching television instead of going out to the theatre. Sadly many theatres like this one were demolished to free up the value of the land on which they stood. The Tampa Theatre itself only narrowly avoided the wrecking ball by a motion passed to preserved with a majority of one vote. (They are still in need of donations to maintain and develop the theatre so if you fall in love with the space as I did you can donate here)

It was a pleasure to walk through the space and we were lucky to have a personal guide leading us through and sharing the stories and history of the spaces we passed through. As a photographer I was unable to get more than a few feet without snapping shots of the décor and I couldn’t stop myself from thinking what an amazing venue the space would make for hosting an event. But words won’t do the space justice so take a look at some of my shots from today and if you are in or plan to travel to Tampa, make time to visit the Tampa Theatre. The tour takes less than an hour and is well worth the time.

Essential shotlist for conference & tradeshow photography

One of the most important things to keep in mind when hiring a shooter to provide conference or trade show photography is to think about the value the photos create and how you will get the best use out of the images.

There are multiple audiences for good conference and trade show coverage. Here are a few that come to mind:

  • Past and present attendees
  • Prospective and future attendees
  • Speakers & presenters
  • Corporate communications teams
  • Marketing and sales teams
  • Event planners and event management companies
  • Experiential marketers
  • Venue owners

What is the value of these types of images?
Depending on who the end client/user/viewer of the images is intended for, the value can be:

  • Showcase a successful event – large filled rooms, happy smiling people looking engaged, looking like they are having a good time, connecting with each other, doing business
  • Highlight successful positioning of branded signage and collateral
  • Highlight the breadth and scope of an event to attract future attendees
  • Show off quality of speakers and content
  • Boost employee morale and drive engagement
  • Sell tickets / drive attendance rates for future events
  • Builds content for your social media channels and web properties

So which types of shots are the most useful and critical to get right?

le Windsor room set up

le Windsor room set up

1. Set-up and room décor
Ideally rooms should be shot from multiple angles, but preferably with a wide enough lens to capture the breadth and feel of the space. The best time to capture the room set up is just before it will be opened up to the public, when the lighting is set up and the room is like a present waiting to be opened up.

2. People networking
This is an easy one to get done but requires attention and fast reflexes. You must anticipate handshakes, smiles and friendly greetings and capture the exchanges without interfering. Every conference has built in networking sessions even if they don’t call them that. More festive social events will also leverage the socially enlivening effects of alcohol. Depending on the industry, the drinks and bars themselves will have branded sponsors. Embedding into this environment requires a special blend of sociability and detachment so you know when to step back and capture images of people as they begin to loosen up.

We mix business with pleasure

We mix business with pleasure

Size matters

Size matters

3. Speakers on stage – front and side views
Getting good images of people on stage is trickier than it looks as the stage lighting can often cast unwanted colours or distortions on your subject. As well, not all speakers are to the podium born and some spend more than ninety percent of the time looking down at their notes. The best shots will come from both telephoto and shorter lenses, shot from the front of house and close to the sides. I usually aim to capture a few images of speakers with fun or illustrative slides behind them if they are in the midst of a slide show, but also make sure to get a few clean and clear ones just them, eyes open, faces smiling and mouths preferably not mid-word. It can be a bit of trial and error but the end goal is really just to get a handful of great shots of each speaker.

4. Views of room from speakers p.o.v
This is really a hybrid categories as it touches on both speakers and rooms, but it is worth having a few of these shots usually angled from the side or sometimes above the speaker, showing both the speaker on stage and the audience to whom he or she is speaking. This is a fun photo for the speaker themselves to have later one and helps promote a sense of attending an interesting, worthwhile event.

Life's a stage

Life’s a stage

5. Big and wide shots of filled rooms
All event planners, conference organizers and companies hosting events want to see their event as a success – and nothing says success better than showing a room full of people. There will be different kinds of such rooms: some will be general sessions with people sitting in their seats, others will show the room in states of transition before or after an event. Sometimes the big room is where an opening night reception is being held. Other times it’s just a general overview shot to show the look and feel of the full space. These images should be taken with big, wide angles, but can also be augmented with candid portraits drawn from the crowd shot on telephoto lenses so the subjects are truly at ease and may not even realize they are in the photos.

I'm paying close attention

I’m paying close attention

6. Engaged audiences in sessions
Diving a little deeper into the idea of showing full rooms, these shots pertain primarily to smaller breakout sessions common at many conferences. Here the rooms are smaller, the speakers usually just standing at a the front of the room, sometimes with but often without podiums, and the aim, as always is to capture images of people paying attention, eyes forward, smiling and asking questions. Depending on the nature of the conference and industry, it may be helpful to have a few shots of people taking notes or texting on their phones, but the majority of images should show people doing what they are supposed to be doing in the room – learning something.

7. People smiling, having fun and making connections
The social side of business confabs is in some industries the most important part of the event. In businesses where making connections and doing deals is important (and when isn’t it) conferences can provide ideal locations for meeting a large number of high quality prospects/partners/future employers. This is the value to the people attending. The value to the people organizing these events is showing that their event is where business gets done and connections are formed. I love these kinds of events and have a lot of fun weaving in and out of the crowd soliciting, eliciting and noticing great photo ops. Selfies, photobombs, generic groupings of twosomes and foursomes (or more) will all happen in here so working with a short and flexible lens is key, but I also carry around a long lens to take sniper type shots of people across the room, trying to avoid detection so that I can capture real emotional exchanges and genuine reactions.

Deal!

Deal!

Seeing the forest for the trees

Seeing the forest for the trees

8. Interesting details, close ups of on-site marketing collateral, giveaways, promos
Finally, throughout the conference you’ll want to make sure you have images showing any promotional item provided by a sponsor, as well as just a set of fun, creative, interesting, artistic even, shots of details that emerge as salient to the event. Judgement and skill is required here but over time it becomes clear what these elements are. No-brainers include shots of program covers, branded spaces, signage, banners and products (in the case of trade shows).

9. People interacting with displays/products
This one pertains mainly to trade shows but can be relevant to conferences that host vendors in common areas as well. The main goal here is to showcase the brand, the product or service on offer, and lots of images of people engaging with the display or items. Interaction, engagement and as always, smiling faces are key here. Closeups on pertinent details and any interesting visual elements available should also be captured.

The laser pointers were a hit

The laser pointers were a hit