Getting great photos from presentations in the round

A recent trend in company town halls and employee meetings is presenting in the round, where the stage is set in the middle of the conference room flanked by audience members (usually split into four sections).

In the spirit of lessening the distance between the executive team and rank-and-file employees, the format allows for a more congenial presentation style. As the main stage is centred there is a much broader face of the audience to address and the most distant row is only a few layers back. In presentations, as in any relationship, proximity is power and the closer one stands physically to the audience, the greater the impact.

When photographing this style of meeting, there are some advantages. In most cases, the presenter/s will effectively provide four opportunities for full frontal shots as they rotate around the stage, addressing each section of the audience. This gives the shooter an increased number of openings for shooting not just head on portrait style images, but also some interesting side angles and wider angle views that take in a front-facing section of the audience as well.

There is, of course, the other side of the formula that means that 3/4s of the time your speaker has his or her back turned to you, but if you are nimble and ready to move, you can simply circulate around the stage from the outer periphery and stay facing your subject as she or she moves through the presentation.

Another upside is the greater number of audience engagement shots that clients typically request. As the main purpose of these events is to elicit engagement from employees and to strengthen company culture, images showing the audience rapt with attention, smiling, laughing or otherwise reacting to what is taking place on stage are important to capture. With a presentation-in-the-round style format, there is not one, but four faces to the audience to shoot into, all reasonably well lit from the stage lighting. As well, there will likely be four aisles to move through between each section, affording additional chances for down the aisle type shots and more close ups with a deep background of faces to fill up the image.

If you’re shooting a lot of conferences or corporate meetings, it’s likely you’ll encounter this type of presentation format soon, if you haven’t already. If you’ve shot more standard presentations than you can keep track of (ahem), this format can be a nice change and can be a new stimulus to your creativity. You’ll want to have a few lenses on hand (telephoto, wide, 50mm) to take full advantage of the shooting opportunities but you’ll find that this style of presentation is easier and generally more fun to shoot than a traditional conference style format.

How to get the portrait you want

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One of the challenges of shooting headshots and portraits is communicating how you want to be seen in your portrait. This is especially difficult because, as in many made-to-order bespoke creative services, clients don’t always know what the want, but they know what they like when the see it. And the reverse is also true, where a client thinks he or she know what he or she wants, but then doesn’t like the way it turns out and wants something different.

Headshots and in-office corporate portraits are particularly subject to this conundrum because, understandably, people are very particular about the way they look – and perhaps more importantly – how they perceive themselves in images.

Not everyone enjoys having their picture taken and when asked why the answer is usually, “I hate the way I look in pictures.” A professional portrait photographer needs a thick skin because hearing this often enough can make you feel like what you do for a living is causing pain and discomfort.

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Some of these challenges can be mitigated by taking extra time during the shoot to discuss the kind of look your subject is going for, presenting ideas when asked, and sharing the out of camera images on the spot to let your subject see how the shoot is progressing.

Many people hold their heads at certain angles or pose in habitual ways that doesn’t help them look their best in images. They may be adopting the “selfie” pose when it is not necessary as the photographer is shooting with a vastly superior lens at a different focal length and angle.

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Alternatively, they may have some sensitivities about their body image, or really just not like the way they look which is invariably related to deeper issues. Sadly, though I as a photographer can genuinely see a beautiful side to just about every face I train my lens on, few people really believe that about themselves. (I think this is partly an effect of investing too much faith in the glossy, oh-so-perfect lives socialmedialites project in their relentless quest for Influencer status, but I digress…)

In any case, to make the most of your investment in hiring a professional photographer, open up the communication channels.

Don’t be afraid to tell your photographer what you love and what you hate about the images he or she shows you of yourself.

Ask for more or less photoshop. Images can be brightened up, toned down, shadows accentuated or removed….much is possible both during the shoot and afterwards in the editing suite so feel at ease when asking and talking about it.

Part of the cost of a portrait session includes time for dialogue and for making adjustments and tweaks if you wish to have them made.

Even more helpful, take some time before your shoot to come up with a few sample portraits of people you like and share them with your photographer.

A caveat is necessary here, however: while your comments and feedback and express wishes for an outcome are welcome, there is a dash of realism needed to make the recipe complete.  If you haven’t slept, your face and hair’s a mess and you’re wearing something you slapped together last minute because you forgot it was picture day in the office, you’re not going look like you just stepped onto the red carpet.

Similarly, while many subjects feel that it is the photographer’s job to get them looking their best – it is necessarily a collaborative effort. No matter how experienced or skilled your shooter is, if you are not willing to participate in the creation of what is ultimately your portrait, you are missing out on an opportunity to influence the outcome of something you have a direct stake in.

Finally, try to enjoy the process! Taking photos does not have to feel like having a tooth pulled without anesthetics. You can laugh, be playful, indulge in a little fantasy and ideation and come up with some creative ideas for what you want to achieve.

Most photographers enjoy having time to spend with their subject and get to know them a little. It helps open up the pathways to communication and ultimately helps bring about a better portrait. So open a little, let your guard down, share and trust that your photographer has your best interests in mind always – and get the headshot you want and deserve!

 

Keeping clients happy in the collaborative economy

multi-tool.jpgWhen I started out as a freelance photographer, that’s all I was thinking of doing, and clients didn’t expect me to offer more. I was a sole practitioner, offering a specific, in-demand service and that worked well for me and my clients.

But much as I love the art and craft of photographing people at events, or observing and documenting groups learning and networking at conferences or creating thoughtful portraits of professionals, clients today need – and expect – more.

Much – maybe everything – has changed about how companies communicate over the past fifteen years. The technology is different, the channels for publishing and sharing content are different, the ways in which content is created and shared is different, the speed and frequency at which content is expected to be produced and distributed has accelerated, and clients today need their creative suppliers to be able to respond to all of these changes, quickly.

The average product marketer, comms director, event manager or conference planner today has to feed content to a dozen different channels from social media to micro-sites, advertising, social media and emailer campaigns all while maintaining and developing a brand their target audiences can recognize and love.

The band’s back together again

Perhaps the biggest change has been the explosive growth in the collaborative economy, in which independent gig workers and freelancers come together for projects and share and grow each other’s business through a web of interrelated referrals and service offerings – and there is more work than ever thanks to the never-ending maw of the internet that creates a constant demand for images, video, graphic design, graphic notation for illustrating ideas produced in a workshop or at a conference, written content and more.

This demand for more services has been a stimulus for growth for my way of doing business, and over the years, I grew and expanded on my main offering to satisfy the needs of my clients as a way of rewarding and maintaining their loyalty.

And it’s provided me with a chance to learn new skills, and stay relevant in a competitive space where there is always a new up and comer, right behind me willing to do what I do for close to nothing.

Photography, videography, podcast production, & more

Today I am happy to be able to offer videography through curated collaborations with skilled directors and videographers I regularly work with; photobooths for events and parties through my side hustle at LePartybooth.com; design and podcast production in collaboration with Media Mercantile; as well as copywriting and content creation.  (I even wrote a book about freelancing based on everything I’ve learned living it over the past fifteen years, Gigonomics: A Field Guide for Freelancers in the Gig Economy ).

By offering a wider range of services, my clients are able to find what they need for the event and conference needs, and I am able to grow and develop new client relationships.

While some event managers and communications coordinators may prefer to work with different teams of vendors, I’ve found that most find it more efficient and satisfying to have one main supplier who can handle the full range of their content creation and coverage needs. This keeps things simpler from a project management perspective, and it is more efficient, as my team and I are able to leverage our learning and understanding of a client’s brand, company, culture and industry across related projects.

Adapting to rapid technological and cultural change is a necessary skillset for freelance content creators in today’s gig economy. Luckily, it’s also a fun way to keep learning and stay on top of your field. Developing and building a professional team of talented freelancers who fill out your offering to provide clients with the full suite of services they need to help them complete their mandate is increasingly becoming the new normal for the kind of work I am doing these day. The projects are bigger and more  complex with more moving parts to coordinate, but the end results are often even more satisfying than just sending out a link to an online gallery. Creative services like the ones I manage and offer are an integral part of what many clients need to deliver on to satisfy their own internal and external clients. Having the support of a curated collection of people who’ve worked together, who can be trusted to deliver quality service on time and within budget is a precious commodity and one I’m proud to be able to provide my clients.

Got a project you’re working on now you need some creative support on? Let’s connect.

Ode to Ordinary Life: The surprising value of an “every day” creative project

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I took a picture every day with a Fuji Instax Mini 90 camera throughout 2018.

My self-imposed conditions were simple: take only one a day and use it no matter what. I mostly stuck to this, though due to both technical and user failures on some occasions the resulting image was just so bad, I gave myself some slack and took more than one.

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Here’s what I learned:

  • A daily act of creation is its own reward: Doing something creative deliberately every day requires discipline, but also creates its own universe in a way and adds a little drop of meaning into every day.
  • Casual, intimate moments with friends and family mattered most: I sought and found something (almost) every day that stood out as the most important part of that day. While the vast majority of the moments I chose to snap the shot are just mundane, everyday bits of my normal life, I realized that these moments were, in fact, the ones I cared the most about. While I was busier than ever in my professional life photographing CEOs and executive portraits, big splashy events, several conferences (and the Prime Minister of Canada, Justin Trudeau on three separate occasions), on most of these days my photo-of-the-day was a picture of my daughter hugging her new puppy, or hanging out with friends and family having a drink and a laugh.
  • Image quality doesn’t always matter: while I often found myself frustrated by the extreme limitations of the instant print medium, I loved the authenticity of the print in my hand and the nostalgic reminder of what photography started as: a way to steal a moment of time and put it in your pocket as a memory you could keep and return to whenever you wanted to.
  • Polaroid has huge name brand recognition!: No matter how many times I told people I was shooting with a Fuji Instax Mini 90 (and no this was not a sponsored project at all though the product links are Amazon Affiliate links which will pay me a small commission if you buy through them), almost 99% of the time people would reply with a comment about what a cool idea it was to take a Polaroid a day.
  • Puppies are addictive: I finally understand why the internet is drowning in pet photos and videos. (I took A LOT of photos of my new puppy and my daughter!)
  • I am very lucky and have a good life: I spent time with many friends, family and was able to travel a fair bit this year to Paris, Bruges, Ghent, Brussels, Antwerp, Amsterdam, Quebec’s Saguenay region, Toronto, Brooklyn (a reunion with a good friend and too many martinis-see Aug 24), Trout Point Lodge in Nova Scotia, Tremblant, Florida and many fun nights with friends here in my favourite city in the world, Montreal. While I don’t keep a gratitude journal, this project was like a photo diary of my life and in retrospect it shows how much I have to be grateful for.

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Why did I do it?

When I started I didn’t really have any real reason other than wanting to have some kind of creative project to work on that was one step removed from my regular life.

Having completed it, I am happy to have it done, but also happy I did it. I think there is value in the daily practice of anything – whether a piece of creative writing, a drawing, a photo like I did, a doodle, an idea, a blog post or whatever you decide matters to you.  If you are stuck creatively or wanting to start a new career as an artist, or writer it can give you the discipline you need to break out of entropy and ultimately it will carry you on its own momentum.

Here’s a fun and inspiring video about the impact a daily project had on an artist who decided to do a drawing a day:

My advice to anyone who’s currently embarking on a 30-day challenge, or an every day project is to stick with it. Cut yourself some slack if you miss a day, but make it up (I admit to plugging in two or three photos in this series that were fill-ins for days I forgot to take a shot). Both the doing-it and the finishing-it parts are important. Share what you learn, and if you’re feeling brave enough, share daily as you do it. I chose not to post daily as frankly, I felt that so many of the photos I took were so bad that it would be boring as a daily stream, but in their entirety they have a kind of raw, genuine quality that I enjoy and hope you do as well.

To see the whole year series click on the image below:

 

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Happy 2019!

 

The benefits of working with a makeup artist (MUA)

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Working with a makeup artist (or as it is called in the industry by its wonderfully onomatopoeic acronym MUA) makes shooting corporate portraits a breeze. Clients get extra attention and care and the resulting work invariably makes them look better in their photos and requires less editing in post. It’s a pity more portrait clients don’t request one.

While I do my best to introduce the idea, this past year I shot roughly four hundred corporate portraits in and around Montreal, but only used a makeup artist on a handful of them.

Here are some of the main benefits I see as the photographer on site leading the portrait session (and guys, don’t think makeup is only for women – men can and do benefit as well).

Advantages of using a MUA for your next corporate portrait session

  • Anti-glare: everybody shines. While a shining intellect, and an inner shine are positive attributes, a shiny nose or forehead is less desirable. Photographic lights tend to bring out shine that isn’t visible in normal light. A small bit of attention to those areas prone to reflect light will make the tones of your skin look more even and result in you showing up in photos as you look in real life.
  • R&R: having someone attend to you before a shoot helps quell nerves and can be a relaxing and enjoyable experience. It’s a small bit of pampering in your day and you can just sit back and appreciate it. The relaxation carries over into the shoot and helps you achieve a more natural look quicker.
  • Education: professional makeup artists (I work with a few, but recently have been working with Caroline Mégélas Pro Makeup) really care about what they are doing and the products they use on your skin. They have a professional yet intimate connection to you because they are literally working on your skin and so they are extra-careful to only use high-quality, hypo-allergenic products that you may not know about and can learn about and experience first-hand.

Of course there is an added cost for the service, but it is quite reasonable and if your session involves more than one person, the fee can be allocated across a few people to increase its value at a lower per/head cost.

If you are planning to update your company website, shoot the new team photos, or get a batch of new headshots done for your executives in 2019, consider including a makeup artist with the session. Most professional photographers will know a few they’ve worked with before and the small increase in cost will be a huge investment in making the experience a pleasure for the people you are planning the shoot for.

 

 

How to run a rapid, company-wide portrait session

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I was recently booked by a large corporation to shoot over 200 employee portraits in just two days. With such a high volume of clients there is no time for fussing around with fancy light setups, make up artists or even much time for banter with the subjects.

Key to success is having an onsite ally within the client who can organize the schedule and keep employees to it. These kinds of mega-portrait sessions are a way for large corporations to give a real benefit to their employees in a highly cost-effective way. (Read on or skip to the end for how to price a large portrait session).

Year-end is a good time to start thinking about planning one of these sessions for your employees. A new year is just around the corner, and with it comes the new energy of a fresh start that many people like to use to level-up their online game, update the profiles across their various social media personae, and refresh their headshot.

When booking your photographer, a few questions that can be addressed ahead of time are:

What to wear?
How long will each portrait take?
Where will the shoot take place?
How to pose?
How will the photos be tracked and delivered?
How much will it cost?

What to wear?

Classic styles and simple solid colours tend to work best in my opinion. While you can wear whatever you want, especially if you are ultimately receiving a cropped 8×10 headshot, you still want to make the focus be on you and not your clothes. For men, a solid-coloured, collared shirt (with or without tie depending on your company culture/intended use) with a jacket closed at the top button does the trick. Women have more options but necklaces, large earrings or other adornments can seem out of place for professional use. If wearing a necklace, make sure it hangs straight down the centre so it doesn’t look off kilter. While it’s not necessary to stick to the collared shirt and suit jacket (though it’s fine if you do), too much of a plunging neckline can look a tad out of place on LinkedIn or your in-house network. Think of where the final image is likely to get the most use and dress for that audience.

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How long does each portrait take?

On these big days, you’ll have no more than five minutes in front of the photographer. That will be enough time to shoot two shots of each side. Only rarely will you need more than four images for the photographer to select from. The lighting will be the same on all faces, and though the background can change (if you are shooting in front of a window, for example, you’ll have changing lighting in the background throughout the day), so the poses should all also be consistent.

Where will the shoot take place?

Typically these large sessions are done onsite at the client’s offices or workspace, wherever that may be. The conference room or board room is best, or if the site is equipped with warehouse space, set up in there. Pay attention to wire placement of your lights (the last thing you want is someone tripping and injuring themselves) and if shooting before a window as is often done these days, place your lights wide enough apart so that they don’t reflect in the glass sparing you hours of tedious photoshopping later.

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How to pose?

You will get asked this by everyone who walks in the room, two hundred times in my case recently. While I enjoy taking my time in one-on-one portrait sessions and really working different looks and angles, this luxury is not available to you, humble corporate portrait photographer. You need to get your people in, shot and out on a very tight schedule. While you can vary the height you shoot from a little (I use a step ladder), you want everyone to give you two angles, and do your best to make those who need a little thinning look thin, and those who need a little happiness boost, look happier. The real art of the portrait photographer is in these brief interstitial moments when you must connect with your subject and quickly put them at ease and make them trust you. If it helps, let them look at the shots you’ve taken of them and for the ones who seem particularly fussy, let them choose the shot you’ll edit afterwards.

How will the photos be tracked and delivered?

If you’re lucky enough to have a well-organized client, you’ll start the day with a printout of all the scheduled people each with their assigned time slot (more or less). Jot down one file number from the range you shoot for each person so that afterwards you can either rename the files, or at least have a common language with your client so that the inevitable requests to tweak this, or edit that can be done smoothly and efficiently. For delivery, while I use Photoshelter, you can use WeSendit, Dropbox or whatever large file transfer service you prefer. (Be careful with Dropbox as many clients either can’t access the site from behind their firewalls, or don’t have professional accounts and you will quickly burst through the default 2 gb limit on free accounts).

How much will it cost?

Pricing for portraits requires a political approach. The answer really is, it depends…The reason, of course, is that you, as photographer must balance out the effort with the huge volume of work you are receiving while your client is looking to leverage the volume to get a discount. Personally, I always charge a set up fee for going into an office to cover the cost of equipment usage and transport, and start from there. As I work with minimums (and you should too if you want to stay in business), the cost per head on a portrait session decreases as the number of portraits taken increases. While each portrait in post will require the same amount of work, once you are up and running in a shooting session, your time onsite will go quickly. How much of a volume discount you offer is for you to determine vis-a-vis your client’s budget but keep in mind how the portraits are being used and for whom on the client side when you are pricing it out. A CEO portrait with his or her executive team that will be shared around the world, used in media, annual reports and company wide web diffusion is worth a lot more than the cropped headshot of the first year intern who is only using the headshot for a company intranet (effectively a digital id photo).

The Human Search Engine

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At a recent conference I was covering, during a break between sessions one of the organizers stood up and introduced The Human Search Engine to the audience: an opportunity for anyone in attendance to take the mic and give a one minute pitch on what they are working on and who they are looking to connect with at the conference.  It struck me as a convenient way to add value to attendees and create another opportunity for network connections to happen which is always one of the main goals of conference organizers.

The process is simple, an could easily be introduced in any sized conference on any topic. After a brief introduction explaining the concept, guests are offered a chance to take to the podium and tell the audience what they are looking for.

hse-2.jpgWithin moments a lineup is likely to form and then attendees can follow up with each other on networking breaks to develop the connection.

Most people who go to conferences are there primarily for the contacts and connections they make, and secondarily to absorb the content, stay current in their industry and learn a thing or two.

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The Human Search Engine increases connections between attendees and provides a good break in programming, changing up the format and bringing out a higher level of engagement. Give it a thought if you’re planning out your next conference.

What’s in a “day rate”?

0E7A6414.jpgConference planners (and the event companies that often interface for them and manage the local suppliers) often book photo/video teams well in advance of their conference, and usually long before the agenda for the event is finalized.

The upside of this practice for a client is that elimination of last minute panic scrambling to hire a reliable team during a busy conference season (ie autumn) when there are many other events running concurrently. For the photographer/videographer it’s a “bird in the hand”, a blocked booked date in the calendar which means paid time – always something comforting in the gig economy.

There is a downside, however, which I’ve encountered on numerous occasions, which affects both the contracting entity (whether that’s the direct client or an agency acting on their behalf) and the supplier, and it affects both the quality of the bid received/submitted, and the price.

“…as the day is long”

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I’ll start with an example. When an organizer is trying to lock down costs for an event taking place many months in the future (or sometimes just a few weeks ahead), the aim is to get all supplier costs in on fixed price bids.  In order to do so the RFP, or call for estimates usually asks for a day rate on the job.

A day rate is a fixed price, and means the client doesn’t have to worry too much about providing details on the exact schedule for the day. The problem arises when the concept of a “day” gets stretched to include every waking hour from the 7am early-bird registration/buffet breakfast to the 11pm last call after the bar closes at the end of the opening night reception.

When a supplier offers their day rate, they are usually calculating a day to mean 8hrs, give or take 45 mins to an hour. It anticipates a bit of lag time between programs, a meal when photos of open mouthed chewers are eschewed, and maybe the opening round of a cocktail event. Something like 8am to 5pm, or 9 am to 6pm. What people working regular jobs would consider a normal working day.

Alas, for freelance photographers/videographers, the idea of a normal working day doesn’t seem to factor into many client’s thinking.  And should you be so unwise as to have submitted a bid based on an average length day rate, you may find yourself working the equivalent of two days in one, or effectively getting paid 50% of your normal rate, because the goal posts shifted after you submitted and won the bid.

Being the lowest cost bidder will often win you work, but it doesn’t help your career and ultimately encourages the unfair practice of being asked to bid on work for which the scope remains undefined.

From a client perspective, it may seem like a win to lock in a supplier on a price based on terms that subsequently get redefined to the client’s advantage, but the result is likely a souring of the relationship and “you get what you pay for” attitude on site from a supplier who realizes they’ve been conned.

Build flexibility into the bid

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Most clients are not out to screw their suppliers, but this can be an unintended consequence of asking for fixed price contracts without provided full clarity on the scope of work being requested. One practice that I use that helps is to add a clear note in estimates that the day rate is based on an 8-hour day, and hours in excess of that are billed at a standard hourly rate. This keeps the bid submission price reasonable and averts sticker shock, and if, once the agenda gets finalized it is clear that the day is being stretched to include evening events that expand the hours in the day from 8 to 12, you have a fair basis for negotiating a price that better matches the work actually performed vs. what was anticipated when details were scant.

“I want it now”: leveraging real time photo delivery for event marketing

 

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The Big Picture

Everything happens faster now.

Event photography has always been a bit like the fast food business with a need to deliver fresh photos quickly, but today it is more like Netflix where clients expect to have a steady stream of images on demand, delivered almost as fast as you can take them.

One reason for this, of course, is to meet the expectations of event attendees who will be snapping and posting photos of the event on their personal social media feeds. Event managers want to tap into that same excitement but keep eyes trained on their social channels and leverage the content and media generated to support the event. This is usually managed by assigning and communicating to all an event specific #hashtag which helps pull in photos and videos posted by everyone who uses it, not just the paid professionals hired to cover the event.

Another reason clients like to have a hot dish of freshly baked images delivered on site is to take advantage of venues that offer big screen experiences, like we recently experienced at Taverne 1909 here in Montreal, for the after party of the Shriner’s Hospital Wonder Race event.

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Life’s more fun in real time

Not only does the instant show provide an added element of fun for attendees (who are all waiting to catch a glimpse of themselves in the shots selected) but it is also fun for the event photographer who usually sends off his or her images to a client’s email without ever really seeing how people use or react to the images that have been generated, curated and crafted into a storyline.

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I want to be a star on the big screen

As a professional event shooter today, if you’re not using tools that allow you to turn around a set of images onsite, quickly, you are becoming obsolete. And for clients, if you’re not taking advantage of the extra oomph you can pack into your events by sharing images (and brief video reels or event highlights for a grand finale) you are missing out on an additional touch point with your guests and a chance to add yet one more layer of connectivity between you and them — which today is what’s needed to capture loyalty and keep your event top of mind for attendees, who have a plethora of events, conferences and meetings to choose from.

And now for something completely different…

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In case you missed my announcements here, here, or elsewhere on the internet, in between working for clients, working on getting clients, and working on keeping the clients I have happy to continue working with me, I’ve written and just released a book for freelancers who want to learn how to get gigs and keep on getting them. It’s called Gigonomics: A Field Guide for Freelancers in the Gig Economy and you can pick up a copy here on Amazon.

The gig economy is a hot topic these days and much of what is being said and written about it is negative and casts gig workers as people who’d rather be doing something else and making more money. That couldn’t be further from the truth – or at least my truth – and I’ve written about how freelancing can actually be a joyful, fulfilling, purposeful career choice. If you’re at all interested please check out my book. You can download a free sample section on my book site, www.gigonomicsbook.com and/or read a preview on the Kindle version.  Reviews welcome!

How much coverage do you need?

094A2476.jpgAs a conference and event photographer I am frequently asked to provide estimates for covering day-long meetings or multi-day conferences. It is not uncommon to be asked to provide a detail costing out for services even before the official agenda for the conference is finalized. The challenge here as the photographer – and I would argue for the client as well – is understanding how much coverage is enough and pricing accordingly.

There are some rare clients for whom budget is no object and they would rather have the peace of mind of knowing the photographer they hire will be there to cover whatever is happening, wherever, whenever and they don’t want to waste time parsing out an agenda to reduce the hours (and the bill). They would rather pay full pop and get more than they need and sort it out afterwards. These are great clients to have.

094A2395.jpgBut the vast majority of clients are not so loose with their purse strings and usually are operating on behalf of their client, who has hired them to organize the event. These kinds of clients may still ask for the complete coverage but they are much more sensitive to cost and may wind up tossing the baby with the bathwater if they receive a bid that seems high, without evaluating if what they had asked for a quote on was completely necessary.

For example, I am often asked to arrive onsite up to an hour to an hour and a half before anything actually begins. This is almost always to mitigate a client’s anxiety or worry about not having a photographer be there when they really need them and may speak more to the reliability of some freelancers than to the anxieties of the client, but the net result is either a lot of unpaid time for a photographer, or an increase in cost to a client paying for something they don’t really need. Every professional photographer or videographer I’ve worked with or hired has been able to size up a space, the pacing of an event and digest the order of action for even multi-day, multi-location events in a very short time. It does not usually require more than 15-20 minutes as it is usually very obvious to a professional what is important, and what isn’t.

094A2382.jpgAnother way clients ask for more than they need is if the event they are hosting involves a lot of repeat action in the same setup, with the same lighting, and most if not all the same people, perhaps moving from room to room for workshops or discussions in slightly different formations. Depending on the final use for these images, it may not be necessary to pay for a full day of coverage if you can capture the main look and feel of the event in fewer hours.

On the flipside, it is unreasonable to ask for a photographer or videographer to show up for a gig that won’t last more than an hour, or an hour and half and expect to pay the same hourly rate offered on longer jobs. I know of few (to no) people working regular jobs who would even consider going in to work if their boss said they only need to be there from 2:30-4 so will only get an hour and half’s worth of pay that day. Gig workers (and photographers and videographers have been working in the gig economy since long before it was even called that) also need to make a living wage and can’t afford to take small jobs without applying a minimum rate to cover their time.  In this case the client should be prepared to pay a fee that is higher than a job priced on an hourly basis would be if longer hours were offered for the service provider.

In the end, it makes sense both from a photographer’s point of view and a client’s perspective to consider what the desired end result is from the photos (or videos) produced and structure the work accordingly. Complete coverage, half days, partial or minimum fees are all based on finding that balance between meeting a client’s needs and making the work worth the time and effort a professional will provide. A little time upfront spent thinking through the event and even discussing it with the prospective supplier can save both time and money – and ensure that the client receives a fair and accurate quote they can build out their plan on.

Video killed the presenter star

(If the embed video doesn’t work which often happens go here: https://youtu.be/Iwuy4hHO3YQ)

Hey presenters – stop using video to open for you!

A lot of presenters now use videos as a kind of mental cocaine to stimulate their audience and fire up their emotions. The room darkens, a presenter pops out on stage and mumbles a kind of apologetic introduction then scurries to the side to let the video do the heavy lifting. The intention – I presume – is to focus the audience on to the topic at hand, using the emotive force of moving images and stock music tracks to engage them.  As the photographer observing that same crowd, I think exactly the opposite actually happens.

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What event organizers should think about when they think about lighting

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One big window is all it takes to light up these smiles

Most event planners do not put lighting very high on their priority list, if at all, but it can make a difference in how the photos and videos from their event will look. While not every event can afford a lighting designer, just considering simple things like whether the room you’ve selected has natural light or not will make a difference in the kind of imagery your event will yield.

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Last minute bookings – par for the course in the gig economy

So what is life like as a freelance event photographer in Montreal? Well, after surviving February (the most feared month of the year for any freelancer), March has kicked off with a roar. It’s never easy to predict workflow or plan for last minute assignments, but sometimes they can happen fast and furious and the job of a freelancer is to answer the call.

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Hiring a local photographer from abroad

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I often receive solicitations by email to work for foreign clients coming into town for an event they are hosting. The type of events range from a few hours of a global sales meeting to full multi-day conferences, and every kind of networking / cocktail / gala / awards reception you can think of in between. I’ve noticed that many of these out-of-country clients work with very specific mandates and shot lists, sensibly, since they are typically the same kind of organizations that mount events worldwide and need to ensure a consistent quality across their global portfolio of events.

Here are some tips to make the process smoother and easier for event planners looking for creative contacts in a city they are unfamiliar with:

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Local art for your Airbnb

 

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As the gig economy continues to colonize an increasing share of the real economy, many more Airbnb hosts are popping up in cities around the world. Many people, myself included, have mixed feelings about Airbnb and similar types of business models. While it creates the opportunity for some people to increase their revenue streams and even make a living off of hosting, it has a social cost that is invariably borne by those less-well off people who still need affordable places to live. Sure they too can benefit from becoming hosts, but not everyone has the flexibility and means to share their space with travellers. And while city regulations and condo building by-laws can also control the spread of room shares, in the end it is a trend that is likely here to stay. So how can the wealth it generates for some help create opportunities for others?

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It’s been 10 years since you last updated your headshot. Here’s what’s changed.

 

I see a lot of really bad headshots used in corporate presentations, awards ceremonies and on team pages on websites. They are bad in different ways, and range from embarrassing to unintentionally humourous. Some of them are just clearly cropped from a photo the subject submitted themselves, probably in a mad rush to get something in place for an impending deadline.  Some are selfies, some are vacation photos (you may look great in a bathing suit but that may not be your best office look) and some just an obviously out of date image.

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#365days2018 – what’s your creative project this year?

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Snow Woman – Jan 5, 2018 #365days2018

Apparently, yesterday was the most depressing day of the year (at least for those of us in the Northern hemisphere).  Now that that’s done, we can move on and get on with 2018. In a photographer’s world, January is a bit of a funny month. The search for a wedding photographer begins in earnest for 2018 weddings, and event managers start thinking about booking for their upcoming events.  A lot of people also may be hitting that 10 year expiration on their headshots and might be thinking it’s time for a new one. (If that’s you btw, you’re in luck – click here to send an email to get early bird notifications for when the Feb 2018 flash sale super-discounted $45/head headshots is taking place. This sale only happens once a year so don’t miss out!).

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