Do These Things Before, During, and After an Event (Event Photography Checklist)

I made this checklist to clearly define everything you should do as an event photographer, before, during, and after an event. If you’re a new event photographer, this will clearly define your objectives as an event photographer and clearly define what needs to be done. I also hope it will ease any anxiety you may have over shooting your first event. If you’re a more advanced event photographer, having a checklist can ensure you simply don’t miss anything- we all make mistakes or forget things time to time.

View a printable checklist by clicking here or view it below.

The Day Before

Research

• Check out company website

• Get a copy of the program

Prep Gear 

• Select Camera Body(s)

• Select Lenses

  • Wide

  • Medium

  • Telephoto

• Primary flash

• Backup flash

• Inspect and clean gear

• Charge or replace batteries

  • Camera(s)

  • Flash(s)

  • Other

• Select memory Cards

  • Insert and format 

• Something fun

Other

• Check commute and double the time necessary to arrive on time

Day of Event

Venue

• Identify safe location to stow gear 

• Scout 

• Ask about site specific rules

• Identify escape routes

Client

• Get agenda / schedule of events

• Get specific requests 

  • VIPs

  • Necessary Shots

Shot Types

• Establishing Shots

• Candid interactions

• Close Candids (emotional moments)

• Group Shots and formals

• Posed and creative portraits

• Detail Shots

Post Event

Lightroom

• Add metadata

  • Job type i.e. corporate event, private event

  • Location / venue

  • Client name

  • VIP names

• Select favorites

  • Blog

  • Portfolio

  • Social media

• Export files to full resolution folder

• Export files sized for social media

• Export favorites to separate folder (google drive recommended) 

• Deliver images

Marketing

• Add client to mailchimp list

• Follow up with client 1 week after delivery of images

Los Angeles Event Photographers Review Canon 135mm f2 L.

Event photographers,

In this review I talk about one of my favorite lenses, the Canon 135mm f2 L. I have repeatedly recommended that people start with their “bread and butter” lenses, prior to purchasing something like this, and I stand by that. But when you’re ready to have some fun and open up some “creative” opportunities, this is an excellent choice.

Unfortunately, when I purchased this lens, I didn’t really have all of my “bread and butter” lenses / focal lengths covered. But also, I never really had a mentor advising me on what purchases to make. If there was someone on Youtube giving advice like I do, I certainly couldn’t find one.

I purchased my 135mm on what was a somewhat uncharacteristic whim. I saw it at a trade show in which no tax was being applied, and I decided to just go for it. I more or less spent about $1000- a lot less than most professional level L lenses by Canon, I suppose in part due to it being a prime lens and its age (its relatively old, having come out in 1996).

Why Do I Use This Lens for Event Photography?

In order to talk about when I use this lens, I think it is important to first talk about what sets this lens apart from other lenses.

First off, this lens does something no other lens in Canon’s lineup can do at 135mm (namely, the 70-200 in all its variants), and that is that it can shoot at f2. I have found that the one stop difference between f2 and f2.8 makes a significant impact in what I am able to achieve as a photographer, both practically and artistically.

Being able to open my aperture up to f2, can mean an additional 30 minutes or so of shooting with available light as the sun goes down. It can mean the difference between relying on strobes or not in a dimly lit event, or it can mean the difference between having acceptable noise in my image due to not having to raise my ISO an additional stop.

Going beyond the practical aspects of using this lens, there is just something unique about the shallow depth of field created by the combination of a 135mm focal length and an f2 aperture. I am the first person to say shallow depth of field is overrated, not the end all be all to photography, and actually not the best artistic choice when it comes to personal work like street photography; but when it comes to professional work, shooting with such a shallow depth of field not only achieves specific goals, but has an air of quality and professionalism to the results. Also, in the end of the day, having something visually unique about your work can make you stand out. It could mean the difference between getting hired or not.

When it comes to the quality of this lens, well, its considered a bit of a legend. When it was released, there wasn’t really a comparable Nikon version. It was known to be one of Canon’s sharpest, if not sharpest, lenses and was even reasonably priced- relative to many of their other L lenses.

My subjective take on it? This lens has character and not just due to its fast aperture and focal length combination. It’s sharp as hell when you nail focus and It renders color better than maybe any other EF lens I own.

Events I Use This Lens at

Now that I have covered what’s so great and unique about this lens, lets talk about some specific use cases when photographing events in Los Angeles.

As mentioned before, this is a great lens to use in low light. One thing I specifically enjoy doing is shooting with it wide open at a high ISO in order to get enough ambient light to seamlessly balance it with my strobe, which I’m really just using to improve the quality of light on my subject.

I often bring this lens along, even when I have my 70-200mm f2.8 is, because once I get all my safe bread and butter shots of things like a speaker on a stage, I can experiment with more creative stuff. Also, if size and weight is a concern, I will rock this lens on one body while I have something like a 24-70 on another.

I love shooting portraits with this lens and definitely favor it’s size, weight, aperture range, and focal length to my 70-200mm lens.

One of my favorite uses of this lens is shooting available light during blue hour- the period right after golden hour when the sun has set. Blue and magenta tones seemingly dance together, splendidly, which is further enhanced by the Canon 135mm f2 L lens’ unique character and very shallow depth of field. The result has something of an ethereal feel to it.

I love shooting in tight crowds with this lens. I find I can maneuver through them, while actively shooting much easier than I could with a large, heavy lens. It is also great for when you have to shoot over people’s shoulders or through things because it’s so much less obtrusive.

Lastly, I want to mention that I really just love shooting with this lens because I love shooting with prime lenses and not just for the obvious reasons. Yes, prime lenses are sharp and can generally shoot at wider apertures. But I just love the way it forces me to be more engaged with my craft. Having to physically move your body rather than just zoom in or out, is far more engaging and forces you to be more present, and ultimately potentially more creative. You might not agree with me. And believe me, I see the other side of the argument, but in the end of the day I liken shooting in manual and shooting with a prime lens to driving a stick shift car: a modern automatic will go 0-60 a lot faster, but that does not mean it’s as enjoyable.

What I Don’t Like About This Lens

Seriously, almost nothing. My one and only complaint is that it’s not the lighting fast focuser the 70-200 f2.8 IS, is. But that’s not to say it isn’t fast.

Conclusion

I have been using this lens to photograph events in Los Angeles for nearly 10 years. I probably should not have purchased it before buying at least one other essential lens, but hey I have no regrets. Some of my favorite work has been shot with it and it’s seriously a joy to use. Do you need this lens? No, probably not. But if you want to open up your creative possibilities, while having your work stand out, this fits the bill.

This has been a review of the Canon 135mm f2 L lens from the point of view of a working event photographer. If you would like a bit more technical information, I suggest checking Ken Rockwell’s review.

Event Photography Tips and Tricks (6 Shot Types)

Below is a List of your Main Shot Types when Shooting an Event

As an event Photographer in Los Angeles, I use all of these shot types in my work.

Establishing shots:

You do not need many of these. A few wide shots are essential to give a sense of place and establish scale at an event. I will typically shoot these at 17mm with my 17-40mm lens. I try to get a shot from several different perspectives. Shots like these can be each corner of a banquet hall, a wide shot of a crowd from

Close Candids:

These are the shots that really capture the emotional high points of an event. They can be shot in a variety of ways, but usually with a telephoto lens and a shallow depth of field in order to focus the viewers reaction on the emotion of the shot.

Candid Interactions:

Similar to close candids, candid interactions but provide context to the moment you are highlighting. In other words you can see the person or persons the subject is interacting with. You will typically want to stop down your aperture a bit for these to allow each of your subjects to be in focus.

Posed Photos:

Sometimes you will shoot posed portraits of an individual, but most of the time posed portraits are of groups of two or more. These are simple to do. Anytime you see a small group conversing, approach them with a smile and simply ask, “hey can I get a shot of you guys?” These should be shot at narrow enough apertures to capture everyone in focus. F2.8 or lower can work depending on distance, focal length, and how similarly distanced they are to you, but a rule of thumb I use is to shoot at f4 or higher to capture groups of three or more. I usually do not feel the need to go any higher unless the group is somewhat staggered in distance from me.

Portraits:

These can be a professional headshot or something more artistic. Once in a while, you may be asked to shoot one of a notable speaker or such. But usually, I’m shooting these for myself. It gives me an opportunity to work more intimately with someone, get creative in a different way than I spend most of my time shooting, and a fun way to build a portfolio.

Detail Shots:

There are many ways to shoot detail shots. I have shot these with a 24-70mm lens, 70-200mm lens, 50mm vintage lenses, 135mm lens and more. These shots will compliment your wider establishing shots to tell a story. Details matter at an event; Organizers put in a lot of work to produce an event of any size with many details to show for it. When photographing an event put on to showcase a product, the product should be your focus. That said, be sure to get shots of attendees interacting with the product. You should always discuss what your client is looking for, but this will most likely be it. Although a photographer’s job is in part to capture details, their focus should typically be on capturing defining moments. These moments tell a story and evoke a feeling regardless of the type of event. Every photograph delivered should be about something. It can be about an emotion, someone’s reaction, or an interaction between people, but there should be meaning behind each image. These highlights offer a window into what it was like to be there. Always shoot with intention and never raise your camera to your eye just to snap a shot. Event organizers and marketers do not need thousands of lousy images, they need photographs they can actually use. At private events people want emotion filled images that bring them back to a moment. Capturing the height of an expression can be a ringing reminder of exactly how they felt in that moment.

I have been a professional event photographer and photography instructor in Los Angeles for over 10 years. Click on the button below to see my event photography work.

How to Use an External Camera Flash // Part 2

Part Two of How to Use an External Camera Flash

In this video I focus on how to properly use modifiers and bounce your flash for more pleasing results. I use all of these techniques in my event photography work, but they are applicable to anything. Watch the video below for more information. I also wrote the main points in the continuation of this article.

No Modifier, Flash Pointed Forward

Unless you’re going for a 90’s disposable camera aesthetic, this is the worst way you can use your flash. It creates a very flat image as it lacks tonality due to the flash coming being positioned on axis with your lens. Directional light creates depth. Lighting without direction looks flat. The effect is especially noticed on faces in which this sort of light creates what I call a “frog face” look, as people’s features are flattened and blown out.

Bouncing Your Flash Off of the Ceiling and Using a Fill Card

This is my least favorite way to bounce light, but it works. You simply aim your flash upward in order to bounce light down onto your subject. This bounced light will be softer and larger than light directly from your flash/strobe unit. The fill card has the effect of adding a catch light in the eyes of your subject. Without this, you can potentially get the “dead eyes” look in which eyes appear lifeless due to not having a light source reflected in them.

Bouncing Your Flash Off of the Corner of a Room

This is my favorite way of using my flash. It allows for a natural gradation of light to cascade across your subject, adding depth. Using your flash in this way also has the effect of more evenly falling across the ambient environment, crating a more balanced, and therefore natural look.

Bouncing Your Flash Off of a Wall Directly to Your Side

This is a technique I don’t use often, but to great effect when I do. By bouncing my strobe off of a white wall immediately to the side of me and my subject, I am able to get a giant softbox like effect. This large window of light has a more studio like look I love when appropriate.

Using a Light Modifier (Any Defuser)

This is my least favorite way to diffuse my light. It gets the job done in that it creates a softer, more flattering light. But what I don’t like is that it lacks direction, which creates a flatter look. However, when there are no walls to bounce light off of, this is your only way to go…for the most part. The way I solve this problem is by hand holding my flash and triggering it from my camera. This can be a goofy way to work, having to hand hold your flash in one hand and your camera in the other, but it does create very pleasing results. You’re essentially creating a Rembrandt light setup.

I have been a professional photography work for 10 years while teaching photography at the same time. Follow the links below to see my work and be sure to subscribe to my channel on Youtube for more videos

YOUTUBE

Instagram | @retrograding https://www.instagram.com/retrograding/

Facebook | https://www.facebook.com/mikmilman/

www.mikmilman.com

Building a Photography Kit- Advice for Noobs. Advice from an Event Photographer in Los Angeles

In this video I talk about building a photography kit for event photography. I am coming from the perspective of a Los Angeles event photographer, but really this advice would work for a lot of different working professionals, from wedding photographers to sports photographers.

The gist of it is that the first and most important thing is to cover a wide range of focal lengths. This can be done with a 24-70 and a 70-200. Of course, f 2.8 variants are preferred, but you can get by with f4. When starting out, I recommend getting what fits your budget and upgrading down the line.

I also discuss getting “sexier” gear once you have your bases covered. This will allow you to get more creative with the look of your work.

I have been a professional event photographer in Los Angeles for 10 years while teaching photography at the same time. Follow the links below to see my work and be sure to subscribe to my channel on Youtube for more videos

YOUTUBE

Instagram | @retrograding https://www.instagram.com/retrograding/

Facebook | https://www.facebook.com/mikmilman/

www.mikmilman.com

Advanced Event Photography Tips You've Never Heard

Below are 5 of my most advanced event photography tips. I have developed these tips and methods for over 10 years, shooting events in Los Angeles. I hope they help you on your own journey as an event photographer.

#1 Pre-select your focal point for a faster shooting experience at events.

Use your focus point controller to pre-select where your point of focus will be prior to the viewfinder reaching your eye. Keep in mind that this will require you to first develop the ability to first pre-visualize your composition prior to looking through your viewfinder. With practice this becomes intuitive. I learned this tips through repetition, after shooting hundreds of events in Los Angeles. With time, you will find yourself automatically adjusting your focus point while lifting the camera to your eye.

Although Prime lenses can be seen as less versatile for event photography, their set field of view actually makes pre-visualizing your composition easier. In time, prime lenses can be used nearly as effectively as zoom lenses. With practice you will intuitively know how many steps forward or backward you need to take in order to match the pre-visualized image in your head, all while having their own unique benefits such as reduced weight, faster apertures, and of course that guaranteed field of view already discussed.

Update:

New technology seen in mirrorless cameras may outdate this method of shooting. As face and eye detect technology improve, setting your focus point may in part become a thing of the past.

#2 Shoot with both eyes for maximum event photography coverage.

While one eye frames your shot, use your other eye to monitor the action.
Doing so improves your timing as you’re no longer viewing what’s in front of you through the tunnel of your viewfinder. Additionally you are able to monitor the space for other potential images. This will help maximize your coverage of an event. Remember, when it comes to event photography, your goal should always be to provide more coverage, not more images for the sake of more images.

Update:

Again, this is another way of shooting that may be upended by mirrorless cameras: at this time my experience with shooting on a mirrorless camera at events is not thorough enough to make a conclusion, but I am personally concerned with how seeing reality with one eye and a digital screen with the other may make for a disjointed shooting experience.

#3 Read the room to capture more moments.

Follow the energy. This is not hocus-pocus, woo woo stuff. Do not overthink it. Follow the energy for more interesting candids.

You will find that when you are truly present: when all your senses are in tune with the chorus of noise, movement, and things we are never even conscious of, that you will find yourself moving toward where the action at an event really is… sometimes seemingly before it even happens.

A note:

When photographing an event, following the energy, and focussing on the moments, you will find that you may naturally end up with more photographs of some people than others. This is normal; some people are just the life of the party. However, it is a good idea to balance this out by trying to “even out” your coverage by doing a once over of a location here and there and just try to get a shot of every individual you may have missed.

#4 Predict smiles

Have you learned to follow the energy? Good. Now it's time to predict a smile. Following the energy will get you where you need to go, but as an event photographer, you need to be able to capture the emotional highs and defining moments of an event. One way I do this is by predicting smiles.

When someone is about to smile, you can first see it in their eyes. At events, people are usually too busy talking to smile, but in between sentences they will smile to connect with the person they are talking to. This is the moment I am waiting for and I know it’s coming by watching my subjects eyes.

#5 Time Your shot ahead of the peak of action.

Your motor skills has a delay. Your camera has a delay from the moment you press the shutter button and the moment it makes an image, albeit small. Experiment with timing your image just before the peak of action to counteract that delay. I have found that with practice that I only need one shot to do this. Shooting in continuous can in theory guarantee you capture a moment, but I have found it has made me less in tune with moment at hand and when I stay focussed and time my shot perfectly, I am able to guarantee I capture the moment better than holding onto my shutter and hoping for the best. Also, I really don’t like the process of editing down my event photography coverage when I have overshot. It is more time consuming and delivering files quickly has become increasingly important when it comes to event photography.

My event photography tips conclusion

Connecting the dots, you can see how all of these tips are used in unison:

By staying present, reading the room, and following the energy, I am able to gravitate toward areas of an event in which lots of action is going to happen. By reading people’s eyes, I am able to predict who is about to smile and pre visualize my shot as I move into position, all while pre selecting my autofocus point before the camera hits my eye. By shooting with two eyes open, I am able to time my shot and already know where my next shot is going to be… then I repeat.

I spend a lot of time thinking about how I can improve my event photography. It is important to me to always stay engaged with my craft and never settle. This has allowed me to constantly improve at event photography and I hope my tips help you on your own journey.

UPDATE:

Since writing this blog post, I made a new video talking about how I use my tips together, in concert as an event photographer. Check the video out below.