The first of my event photography tips?
Practise street photography, go out in the street and learn to photograph strangers on the go in the best possible light without them ever knowing.
Let’s rewind a little so this makes more sense and let me begin by saying that I will not be discussing technical or camera gear aspects. Instead, it’s about the approach I have to event photography and how I get the shots I get. There are as many ways to shoot events as there are photographers, this is my approach.
If you want to see more of photos of events, make sure you click on the link at the end of this article to view my full event photography portfolio.
Although I shoot a lot of events in both London and Dorset (and further afield), I wasn’t always an event photographer. I began my photography career back in 2008, at the time and for many years my focus was London-based street photography.
I would explore London and shoot people in the streets without them being aware until I pressed the shutter button.
I did it well. One of my images received the public vote at the International Street Photography Awards and I had many exhibitions in top London venues and galleries as well as in Barcelona’s W Hotel.
My obsession with the street photography genre, my full dedication to it and the need to produce excellent shots without any cooperation from my subject were the very best training I could ever get and it made me a prolific people photographer in London and Dorset.
I am now comfortable and adept at capturing people without being intrusive and without interrupting the moment, a key skill since it’s what we do as event photographers. We capture moments as they unfold so our clients can look back at their event and feel we captured the essence of it without setting anything up or staging anything.
Well that’s my take anyway, some event photographers will non-stop ask for poses and group shots and record a version of the day, not a very accurate one. I prefer authenticity with a touch of art.
So what are some of my best tips for successful event photography?
Some event photography tips:
Lack of preparation often leads to failure and this applies to everything.
For that reason I always ask as many questions as I can ahead of the event so I know what I’m doing on the day and so I know I can deliver what I’m asked for. I ask about the dress-code, who the guests are and how many of them, what the venue looks like and also if my client saw specific images of mine they particularly liked. This can really help on the day. I also check the weather the day before.
With regards to the photographic equipment or gear, I always recommend that photographers don’t bring an excessive amount of lenses and other bits. There is a false sense of security given by bringing the entire studio with us. Carrying a heavy bag for an entire event isn’t fun, it makes you less mobile, and if instead you need to go back and fourth to your bag to change lens… you lose precious shooting time.
I think too much gear can take your focus away from the task. Perhaps some will disagree and lots of camera gear makes them work better. We’re all different.
This always makes me think of David and Goliath, one photographer with a single lens and camera, versus the photographer loaded like a donkey. Who’ll get the best shots I wonder?
I tend to bring a maximum of two/three small lenses and of course many batteries. It’s my personal preference as I like to travel light and I feel too many lens options can stifle creativity. Just like a great artist can create the best sketch using a single pencil, I enjoy the restriction of having fewer lenses to work with, it’s what gets my mind focused on what’s going on in front of me instead of spending my time regretting I didn’t have this or that.
I have stopped bringing huge telephoto zoom lenses as this isn’t a safari, I have a zoom: my feet. A few steps forward and I’ve got the shot which feels a lot more immersive than one taken at a distance, like a sniper would if they were into photography.
Some photographers I’ve seen at events can be quite invasive, they will actively engage with their subject, interrupt conversations (or wait on the side like a keen restaurant waiter or an impatient child for it to be over) and direct people into certain poses or against a different background.
My approach couldn’t be further away from that. Of course if my client wishes so, I’ll take group shots and ask for people to smile for the camera (they are the boss), but I think photos should tell the story as it was and the photographer really isn’t actively part of the event. I guess you could call it a photo-journalistic approach, a street photography approach, where nothing is staged and the photographer is effaced, inconspicuous. I get very close but try to remain invisible if I can.
In order to get the very best photographs of an event, I like to try and spot special moments as they are about to unravel. This is usually easier if you constantly walk around and change location while always observing carefully. If for example someone is telling a story I’ll rush nearby to capture people’s reactions at the end of it. If the bride is headed to see her mother right after a speech or the ceremony, I know there are likely to be hugs and tears, I’m there to capture it. It’s all a question of habit and experience, the more you shoot people, the more you observe people, the more likely you are to develop something akin to a sixth sense.
Whenever someone spots me taking a photo of them, I smile, they usually smile right back at me. Your attitude and personality are important, be friendly, professional, smiley and polite.
How about when the evening draws in and the light levels fall below being optimal, how does a photographer cope with this?
Use a flash?
I’ll let you in on a little secret of mine… I’m not a fan of using a flash for events.
It all stems from my need to retain authenticity and for the images to be life-like. I want images that aren’t too far-off from how life itself looks. Life has no flash.
It is perfectly possible to shoot events without a flash and still deliver great imagery. All you need is a good understanding of light and of your camera. Of course a camera that handles high ISO is key, so is the ability to stabilise your camera properly when holding it. A wide aperture lens is another very useful tool. I love shooting with both my Voigtlander 50mm f1.5 and my Sony FE 35mm f1.4 GM. These lenses, paired with the latest Sony A series are night photography queens.
So you’ll get motion blur at times but if you embrace this, you’ll capture incredible shots that convey the sense that a lot of wild carefree fun was had.
I recently wrote an article on ‘Is sharpness important in photography’ which I recommend you read.
Once the event is over, I always aim to deliver the photos in the shortest time. Of course depending on the volume of event photos captured it may take a few days and in that case I will always send a selection for my client to have and use on social media, to share with family and guests, until the rest is ready.
I hope this insight into my event photography work will be useful to some of you, if you are perhaps heading to your first event or maybe considering becoming an event photographer.
I find that event photography is one of the most rewarding of all photography genres and what I enjoy most with regards to paid work. Most of the time, guests are having a lot of fun, they are relaxed and are in a good mood, that’s half the job done!
Until next time,
Nico