When you are setting up a shot and you show a client an image, ask them specifically what you need to know to continue?   Composition, lighting, angle, wardrobe, etc.   If you work like I do, I tackle certain things as I go.   Don’t let the client get caught up on something that isn’t in question yet.

Todd Joyce is a recent Past President of ASMP and specializes in conceptual people photography for advertising. See Todd’s work at joycephotography.com and contact him at todd@joycephotography.com

I will fully admit that events are far from my favorite type of thing to shoot.  It seems that the lighting is always difficult, the days are always long and the settings less than majestic.  That said, there are benefits to event photography that can be used to your advantage.  Often it is a great way to meet and interact with those who make the marketing decisions for large corporations.  If you play your cards right, these people may hire you to fill the commercial photography needs of the company in the future.  It can also be an excellent way to practice shooting portraits on the fly with minimal lighting set-ups.

Two things have really stuck with me from my experiences with event photography: one, make sure you charge enough.  Many estimates for events seem to be priced by the hour, so make sure you set your hourly rate high enough to make it worthwhile.  Don’t forget about post-production charges if you intend on doing any.  If you need to, add this labor into your hourly rate.  Two: wear comfortable shoes.  Really.  Conference halls are large and you will be running around quite a bit.  (I once chose fashion over function and had sore feet for days after.)

Jenna Close, along with partner Jon Held, run P2 Photography.  They specialize in imagery for the alternative energy market.  You can find Jenna at www.p2photography.net.

I’m a big fan of per-image pricing. I use it most for events in the retail environment.  This is especially true for the rare one or two corporate client weddings I photograph each year.

I’ve discovered that people’s budgets are often bigger than what they reveal to me or even what they originally envisioned.  Per-image pricing allows me to offer good clients a fair option without feeling like they’re taking advantage of me.

I begin by requesting a non-refundable down payment to save the date.  The payment is credited toward the first images they purchase.  For retail events, the per-image rate is much lower than commercial rates due to the volume and the personal-use license.

Once I’ve edited my images, I upload them to Photoshelter with the option to download each image at the agreed-upon rate.  I still offer prints through the system, but the smallest size available is 4×6 at the same rate as the original file download.

Is there a risk? Absolutely. Fortunately, I have found when I work hard and present creative images to my clients, they’re happy and I receive a monetary reward.

Rosh Sillars is the co-author of “The Linked Photographer.”  View his people photography at http://people.roshsillars.com

Are you thinking that Event Photography is a dead end street?  I say you are looking in the rear view mirror.

At first glance, it might appear that event photography is just a way to make money, a way to survive in tough economic times.  Of course there is money involved and it is nice to make but that is not the prize that I am eyeing.
While event photography is not my forte and it certainly does not feed my soul, it does serve my purpose.

Event photography is simply a means to an end.

The means is actually “the opportunity” and the end is a new client that I might not have “reached” if I did not have the stomach to take this journey.

I actively market to events, specifically ‘corporate events.’  Corporate events are easy to research online and have definite deadlines.  They involve people within the corporate world that I am trying to reach and make an impression upon.  They happen all the time and all over the world.

It is my intention is to obtain a new client, and have that client fall in love with me.
Once the love is made and the relationship solidified (thru the documentation of their event, delivering high quality imagery, and the development of a friendly relation that I started and actively sought)… How can they refuse to hire me again?

I have faith that my client will recognize the potential in having me do other types of work, work they were not even considering when we began our journey.

As you take your eyes away from the rear view mirror, pull over, open the passenger door and offer a new client a ride.  I am certain you will be pleasantly surprised as they will embrace a journey into the world of your photography.

Kevin Lock is a National Board member of the ASMP.  When not picking corporate hitchhikers, Kevin can be found shooting corporate events in your home town.

I have an expression I tell anyone who assists for me, “Never let ‘em see you sweat.” in other words, regardless of what happens on a shoot, let’s keep it entirely professional in the eyes of the client.

I recall a young assistant working with me on an annual report shoot in Monterrey, lMexico. I was in the center of a grouping of tables configured in a square so I could shoot candids of the executives during the meeting.  We had lights in all four corners of the room to illuminate everyone somewhat evenly.

About 15 minutes into the shoot a capacitor in one of the lights blew with a loud bang, startling everyone in the room.  Cool as a cucumber, my assistant Angie walked over, unplugged the light, grabbed a replacement, set it up and acted as if nothing happened.

During the next break the client complimented us on our “prepared for anything” work process.  I glanced over at Angie to see if she had heard the compliment.  I could tell by her slight smile that she did.

Blake J. Discher is a photographer specializing in people for Fortune 500 companies worldwide. He speaks internationally on the topics of web marketing, SEO, and negotiating. To learn more: http://www.blakedischer.com.

Assisting is a step toward being a photographer, a way of learning how things are done, how they work.

That’s all very important, but you really need to keep your creative work going. That’s what will really make  you a photographer. That’s where you learn what no one can teach you. That’s where your career will ultimately come from.

Knowing workflow and procedures is important, but not more important than doing the actual work.

Congratulations, you’ve just graduated from a prestigious photo school with a spectacular portfolio and you’re ready to change the world. As you start your career as a professional, I strongly encourage you to assist another photographer to learn the ropes of running a profitable photography business.

While assisting, watch and listen to the way your photographer interacts with clients, manages jobs and handles problems. These intangibles are often the difference between a good photographer with a busy, profitable studio and a great photographer with a stellar portfolio but no clients because they don’t understand the “soft skills” necessary for success.

A couple of years ago, I surveyed a bunch of photographers to find out what Assistants do that drives them crazy.  If you’re building a business as an Assistant, following these tips will help you win ongoing client loyalty and great referrals.

1. Be on time.  If you’re not going to be on time, be early.  If something catastrophic (and it had better be catastrophic) happens and you’re going to be late, call the photographer the moment you know you’re not going to make it on time.
2. Dress appropriately.  Most photographers are pretty casual but not all clients look kindly on piercings, tattoos, etc.  When in doubt, ask the photographer what’s expected.
3. Stay on task.  Don’t text, make or take calls or use your iPod unless you’re on a break.  Don’t sit or eat unless the photographer is doing the same or tells you it’s ok.
4. Communicate openly.  Ask the photographer what their expectations are and be honest about your ability to fulfill them – never exaggerate your skills or knowledge level.
5. Be Proactive.  Anticipate what the photographer’s going to need and have it ready.  If the photographer grabs a powerpack, have that extension cord plugged in before he or she has to ask.
6. You’re not just an extra pair of hands.  You’re also an extra pair of ears. If you overhear any client comments – about the shots or their experience of the shoot, good or bad – discretely convey them to the photographer.
7. Remember who your client is.  Your job is to make the photographer look good.  If you have ideas or solutions, that’s great but share them with the photographer in private.
8. Remember who your client is not.  Never, ever try to get work directly from the photographer’s client unless the photographer explicitly gives you permission to approach them.

The best analogy I’ve ever seen to a great photographer – assistant dynamic is a Surgical team.  Think of yourself as the scrub nurse to the photographer’s surgeon and you’ll do great.

Judy Herrmann’s Breaking into the Biz seminar covers what every student and emerging photographer should know.  Her blog, www.2goodthings.com, helps people earn a living doing what they love.

Help things go smoothly and look at the big picture.  Oh, and make me look good.

As a photographer who hires assistants, I’m looking for someone to help me, not hinder me.  You’re part of the image my client sees as me.   You represent me and I’m looking for someone who sees that.  Recognize your role in the process with each photographer, because everyone has different expectations.  I empower my assistants to be more than a helper.  I look to them to see things and to be part of the final image in ways that they take pride because they made a difference.

A few simple tips; Ask what dress is appropriate the day before the shoot, If you see anything of concern, communicate to the photographer (not the client),  always have a basic tool kit, look for opportunities to help,  be patient, anticipate what comes next and be ready.  Don’t make your problems the photographer’s problems.  Make their problems, yours.  One more tip – when in doubt, ask.

There are ways to make yourself more valuable, like learning various capture and editing softwares, and knowing various brands of lighting, computers and cameras.   Anything you do to make my life easier and the final product better, makes you a more valuable member of my creative team.

Todd Joyce is a recent Past President of ASMP and specializes in conceptual people photography for advertising. See Todd’s work at joycephotography.com and contact him at todd@joycephotography.com

© Kevin Lock

When traveling abroad, I suggest that you do your homework.  Don’t assume the airline or anyone else will do it for you.  I recently spent a month traveling via Jet Blue’s “All You Can Jet” promotion.  I was on the road photographing places that I had never been.  I visited 4 countries and spent time in 11 cities.  I would have visited 5 countries if I had done my homework.  The last country on my itinerary was Bermuda.  When I landed and attempted to pass thru the Bermudian Customs and Immigration, I was pulled into secondary.  There I was informed that I could not enter their country without a reservation (hotel). After my 3 and a half hour visit to the Bermuda International Airport, I was put on a flight back to the lovely United States.  Lucky for me US Customs did not require a reservation.

Kevin Lock is a National Board Member of the ASMP.  When not being allowed into small countries he finds himself taking pictures out of airport windows. Kevin is currently spending time thoroughly researching his next trip abroad.