TABLEofCONTENTS

© 2012 PhotoShelter, Inc No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, without the prior written consent of PhotoShelter, Inc. The logos of the companies described are the trademarks of their respective owners. No endorsement is implied.

PhotoShelter, Inc. makes no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation warranties of fitness for a particular purpose. The advice and strategies contained herein may not be suitable for every situation.

479

1012141619212325

Introduction

Marketing Your Event Photography

Mastering Storytelling Through Event Photography

5 Insights From an Event Planner: Jeremy Norman

8 Tips to Make the Crowd Love You: Charr Crail

Q&A with FOOD & WINE’s Art Director: Rory Tischler

From Planning to Execution: Michael Seto

Action, Reaction & Capturing Emotion: Craig Mitchelldyer

Photographing Events for Nonprofits: Angela Jimenez

Getting in the Action: Jamey Price

Turning Time Into Money: Andrew Funderburg

SPECIAL OFFERTry PhotoShelter FREE for 30 days!Build a stronger photo business with aPhotoShelter website. You can now try PhotoShelter free for 30 days.

Launching your new PhotoShelter website is so simple, you can get it live in a matter of minutes.

Get StartedLearn more & join PhotoShelter today!Or, visit photoshelter.com/signup and enter

Questions? Contact us anytime at 212-206-0808 or support@photoshelter.com.

Offer only valid for new PhotoShelter users.

About PhotoShelter

PhotoShelter is the leader in portfolio websites and business tools for serious photographers.With PhotoShelter, you also get powerful features and resources to market your photos, such as SEO and social sharing capabilities, in addition to the most options for licensing photography, selling prints online and pro-strength file delivery tools to please your clients.

Visit photoshelter.com/tour and let PhotoShelter power your business online!

COUPON CODE EVENTPHOTOG2012

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 4

What is event photography? Well, what’s an event? For our purposes as photographers, an event means people drawn together for a specific purpose. To watch a concert or a basketball match, to celebrate a wedding or an anniversary, to attend a corporation’s gala, a ribbon-cutting, an award ceremony – the list goes on and on. Charr Crail, Sacramento-based event and fine art photographer, says, “I consider an event anything where people gather.”

Although there are differences in techniques and styles, when it comes down to it, the way photographers capture an event shares crucial commonalities. “I approach a wedding reception the same way I approach a rock concert or a board meeting, and I’ve covered dozens of each,” says Charr.

In this guide you will find a broad range of tips from photographers on how to successfully cover events, as well as hear from buyers about what makes an event photographer stand out. You’ll also learn about the importance of your people skills and visual storytelling techniques to keep your clients coming back for more.

Why People Skills MatterSo let’s pause for a second. If you’re thinking about becoming an event photogra-pher, then it’s probably a good time to think about what kind of people person you are. If you are photographing events already, then take a moment to consider how your interactions went, and how a little bit of crowd psychology might make them even better.

No matter what kind of event you’re photographing, you will probably be interacting with people more directly than say, nature photographers do. In fact, people skills, crowd control, and a welcoming yet authoritative demeanor are important assets for any photographer wanting to cover events and attract repeat clients.

“Getting people to do what you need them to do in a friendly, fun manner – I think that has zero to do with photography skills and 100 percent to do with general

people skills,” says Andrew Funderburg, CEO and founder of Fundy Software, and an eight-year wedding photography veteran.

Getting people to cooperate so you can get “that shot” while they continue to enjoy themselves is more than a matter of making good photos. The better you are at navigating and working with crowds, you'll be more apt to capture outstanding photos and deliver a positive end result for your client. The event photography business is still heavily weighted on word of mouth referral. As Jeremy Norman of Congruent Creative Workshop says, “Word travels fast. If you’re not on your game, if you’re just cruising, we’re going to hear about that.” So if a photographer isn’t playing well with others, the client will know.

The Business of Event PhotographyBefore we dive in, let’s start with a rundown of event types, who’s organizing them, and how photographers fit into the market. First up: Lifetime events.

Lifetime EventsTake the general idea of capturing emotions and intimate settings and expand that to all the markers in someone’s life: birthdays, bar mitzvahs, anniversaries, etc. In this category the clients are (typically, but not always) individuals, as opposed to a business, corporation, or organization. Crowds may be smaller but the emotional stakes are higher. One thing you can count on: people will be happy to have a photographer present, acting as historian.

WeddingsWe pointed out in our recent guide, How To Grow A Wedding Photography Business, wedding photography is one of the most popular categories of event photography. Wherever you are, people are always getting married – in fact, the wedding industry has been called “recession-proof.” So if you’re interested in covering events you’ve probably been steered in this direction.

Introduction

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 5

Covering weddings can be a lucrative business for photographers, though it is a saturated and competitive market. Making yourself stand out and developing a niche within the genre is key.

Weddings are a milestone in someone’s personal chronology. That said, this type of photography involves lots of people, lots of emotions, and a light touch. Knowing a little about psychology and crowd dynamics is crucial. You’ll need to blend into the background of the festivities and help subjects relax, while still working really hard to capture the group's, and couple's, activities throughout the day. It can be grueling, repetitive work, but often some of the most personally rewarding.

Corporate EventsCorporate events can cover quite a lot, including many business milestones – openings, anniversaries, financial victory milestones, fundraisers, benefits, and more. Basically, if an event is put on by a company, it’s a corporate event. This type of photography might involve various components: portraits of company employees, venue and catering shots for PR purposes, photos of crowds, interactions, and general speakers addressing the gathering. Corporate event photography almost always involves a bit of production: lights and backdrops for portraits, a tight game plan (and probably a pre-event, run-of-show briefing by the host), and a fast-acting photographer who can make sure everyone has a photo taken by the time the event is over.

Social EventsSocial events are events like art openings, mixers, social club gatherings, holiday parties – basically, parties with a social purpose and a host. Any party that might end up in a gossip column, yearbook, or other published medium typically requires a historian (i.e. a photographer). This is where the ability to capture candid shots, and people at their best, is essential.

Concerts And PerformancesConcerts and performances (music, dance, etc.) are also a very popular category of event photography that require a slightly different skill set than say, wedding photography. Edging through crowds, being highly aware of a venue, understanding access (managers, time limits with performers), and difficult lighting all come into play.

NightlifeThink post-premiere parties and high-profile get-togethers. Photos that are used for promotional material also fall into this category. A bar-hopping night that tells the story of a company’s branding, for example, is part of the very popular “lifestyle marketing” trend. Check out Red Bull’s website for an idea of how photos of people at night clubs are being used to create the image of a company credo. Nightlife holds many opportunities for a photographer to create a niche for himself or herself. Particularly versed in the art scene of Telluride? Have you spent years photographing dinner parties in Santa Fe? Maybe it’s time to turn that into a selling point.

“You have to be really proficient at the ‘grip and grin’ photos, the podium photos, and the things you’re supposed to get for PR purposes. But I also try to bring something else to the table. What I try to do when I get those kinds of jobs is what I learned as a journalist. When you show up, look for the other things that will flush it out, make it more human – photos of people interacting and the things that are a little off to the side.”

– Angela Jimenez, photojournalist, event and documentary photographer based in Brooklyn, New York

“I approach weddings the same way I’d approach a soccer or football game – shoot the peak action, reaction, and emotion. That’s where the best pictures are.”

– Craig Mitchelldyer, commercial and editorial photographer based in Portland, Oregon

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 6

SportsAt sporting events, the role of the event photographer is to capture the action and the individuals involved - whether that be for participants' social media usage, keepsakes for family and fans, newsletters and other marketing collateral, and other documentary purposes. Some people have a hard time including sports in event photography because in general, an event is split between the reason for the gathering (wedding, keynote, ribbon cutter) and the crowd gathered to witness it. Sporting events are so focused on the players that it’s easy to forget that “witnesses” are part of what makes a sport an event. That said, sporting events can require a photographer to capture the anxiety of the moment written on spectators faces, too.

“I think the challenging side of motorsports is not only being able to be an ‘action’ photographer, but also an artist, an editorial photographer, and a commercial photographer. I've had people say to me ‘Wow! Motorsport photographer! That must be fun.’ Well yes, yes it is. At times. But it also involves a life on the road, away from home, and very long days at the track for not nearly as much money as you’d think. It’s a challenge in every way, but one I very much enjoy.”

– Jamey Price, sports photojournalist based in North Carolina

Photo Credit: Craig Mitchelldyer

Photo Credit: Michael Seto

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 7

Marketing Your Event PhotographyMarketing your event photography has a lot to do with being known by the right people, being visible to buyers, and having an excellent, updated online portfolio. Many event photographers and employers of event photographers will tell you that connecting with vendors in your local market is essential.

Cross promotion within your market is another way to expand your scope. When people see you at an event, have your card ready to hand out. This helps boost word-of-mouth marketing. “I find that most of the time you get business in this industry because people attend an event, like it, and ask who did it. It’s very much a referral based industry,” says Jeremy Norman, Creative Director at Congruent Creative Workshop, an event design and production firm. If people like what you do at that event, the chances of getting another job are greatly increased.

Finding Your NicheDeveloping a niche is important in almost any creative market. With event photography, it may seem like the type of event is the niche, but because event photography is so saturated, niches within niches are great ways to get noticed. Niches are also ways to capitalize on your interests or specialized knowledge. For example, specialized niches might include plus size brides, or gay and lesbian weddings, or even roller derby competition photography.

Taking the time to become an expert in one particular type of bride, or one type of concert, or one brand of event especially when it is location based, will reduce competition significantly and allow you to enter a market through a door that you’ve created.

Creating a niche is not just a matter of going where the water is warm, either. You may have to work at a niche, or follow different avenues to arrive in your goal market.

For Angela Jimenez, photojournalist, documentary, and event photographer, it’s a matter of creating strong ties with clients and building on the projects that she's already been assigned, until eventually she is doing only the type of work she is passionate about. This is a way for her to expand the scope of her work while building a portfolio of the specialized work she hopes to be doing. If there are projects that you’d love to cover, or issues you’d like to champion, it might take a creative approach and the courage to present a passion project to clients. “People aren’t always going to hand that to you – you have to suggest it,” says Angela.

“If a photographer shoots an event that might be relevant to what we do, he or she should send us a link to an online gallery. As you get more current event photos from one photographer, it starts to resonate and you get a picture of how they work. Plus, it shows that they are not just sending you their portfolio with 30 to 40 amazing shots from various events.”

– Rory Tischler, Art Director of FOOD & WINE magazine’s Marketing Department, based in New York

“I wish that being a photographer meant you have the ability to be really good at one thing, but it simply doesn’t. Early in my career, I got thrown in the mix of doing weddings, events, parties, work for schools, and pretty much anything else that pays. However, as I've grown as a professional, my photography business has evolved into sports and motorsports. To the point where I will no longer accept jobs shooting weddings.”

– Jamey Price, sports photojournalist based in North Carolina

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 8

Working with Clients and Managing ExpectationsBecause event photography covers so many categories, describing the typical client is almost impossible. However, let’s say for the sake of brevity that an event client is someone overseeing a function. This is your contact person on the day of the event – this is who you turn to for contracts, expenses, and a paycheck. But, when you’re shooting an event, you’re the one who should take the reins – you’ll be directing traffic, finding the best lighting, and be the one in creative control of the outcome that you know your client wants.

Start by building a robust contract. Consider what kind of rights you are prepared to offer and accept. Rory Tischler, Art Director of FOOD & WINE magazine’s Marketing Department, tells photographers right away that his magazine requires full ownership of event images. “We have way too many scenarios where the photos might be used again to have to go back to the photographer to negotiate usage rights,” he says.

When Angela Jimenez writes up a contract for her clients, she lets clients share her images with partner organizations. “It’s better for them, it makes them look good, and then all those people get your images.”

The Cost of Doing BusinessBesides rights, take into account your expenses. “Know the market. Know the value of what you’re doing and know the cost of doing business,” says Craig Mitchelldyer, commercial, editorial, and event photographer based in Portland, Oregon. “If you’re only a wedding photographer doing 25 weddings a year, that’s two a month, on average. You’ve got to know what your monthly costs are in order to pay yourself. You might think, ‘I’ll charge a $1,000 for a wedding and one day of work.’ But that’s actually a full 40 hours of work – man hours on the day of, editing, meeting with people, shipping, etc., and you have to include that in your costs. To be a successful photographer you have to be a business person first and a photographer second.”

With this in mind, many photographers understand that there are a couple of revenue routes to take when building up a reputation and a consistent flow of business: you can work cheap, taking on projects and clients that match your aesthetic and passion ideals, or you can take jobs that pay well in the market – not

necessarily the kinds of jobs you love, but will lead to other well paying jobs. Both avenues can bring you closer to doing exactly the type of photography you want to do, but each requires patience. It’s a matter of being diligent, remembering what you’re doing and why, writing a solid business plan for yourself (that includes five and ten year goals), and being rigorous with your customer service.

Checklist for your cost of doing business:Do you need travel expenses?Do you need backstage access or scheduled time with a performer?Do you need to offer an image package with a certain number of photos?Do you need to deliver an album or online gallery, or a certain resolution for

image downloads? How many downloads?Do you need to pay an assistant or a second-shooter?Do you need to rent or purchase specific equipment for this event?

“For me, 80 percent of my new clients come through referrals from other clients. If you do good work and provide exceptional client service, then your clients help to market you – everyone in this business talks to one another about vendors and photographers they like to work with.”

– Michael Seto, New York-based freelance photographer specializing in event, corporate, and documentary photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 9

When people gather, it means there is a story to be told. And when event photographers are hired these days, clients expect them to capture that story.

If you think back to English 101 you can probably conjure up the voice of some professor describing the narrative arc in every story: it has a beginning, middle, and end. There is a protagonist and a plot. If you think of an event as having a beginning, middle, end; a few central characters and an overarching theme or plot that has to be translated to a gallery of images, you’re well on your way to delivering it. The real trick is knowing how and when to capture those moments in every event that will make its story original.

Check out what these photographers and buyers have to say about the importance of storytelling in their business:

“I want to tell the story of the day. I’ve been married for ten years myself, and I don’t really remember my wedding, so my goal is ten, twenty years from now you can look back on your pictures and you can and remember, A) what everything was, and B) feel the same emotions by looking at your pictures as you felt on the day. Those are the things that are really important to me when shooting wedding pictures.”

– Craig Mitchelldyer, Portland, Oregon based commercial and editorial photographer

“As a photojournalist, everything is an event of a different kind, so you become really fluent in stories - in making a picture and figuring out what the story is, no matter what situation you’re thrown into.”

– Angela Jimenez, photojournalist, event and documentary photographer based in Brooklyn, New York

“Anyone who has shot a bunch of weddings wouldn’t be telling the truth if they say they haven't gone through a stage when they got bored. Weddings are repetitive. It’s pretty much the same thing over and over again. But by shifting away from thinking of them as events and instead focusing on the people involved – really trying to get to know the client as deeply as possible in as short time as possible – the more you’ll be able to focus on them, and let the repetitive parts of an event drift into the background.”

– Andrew Funderburg, CEO and founder of Fundy Software, album design software, and eight-year wedding photography veteran.

“There’s just so much noise and action in motor racing, and even though these races can be 10 hours long or more, there’s always something to shoot. It sounds boring as sin, but it actually allows me to be more creative because I’m not rushed – I get 10 hours to tell the whole story of the race.”

– Jamey Price, sports photojournalist based in North Carolina

These days, the line between that traditional approach to event photography and photojournalism has been blurred, where a photographer now sets out to create images that are part of a larger narrative.

Mastering Storytelling Through Event Photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 10

Jeremy Norman is the Creative Director at Congruent Creative Workshop (CCW), an event design and production firm based in New York City. Jeremy has been working in New York for eight years and has helped assemble a range of events from social to corporate galas to non-profit events. CCW’s very long and varied client list includes the New York City Ballet, JP Morgan Chase, The Whitney Museum of Art, and Virgin Records.

“We like to create stories and narratives in events,” says Jeremy. “Whether it be a social or corporate branded event. Even the entrance to the party should evoke a mood, a personality, or a branded message that the client is trying to convey.” And that most certainly applies to the photographers Jeremy hires to cover his events.

Because CCW has a focus on a narrative thread – which needs to apply to every aspect of production – it’s important for photographers to understand and work with the firm’s practices. Jeremy shared insights on how CCW interacts with photographers, how photographers can promote their work to him, and the general needs he sees in today’s event photography market.

1. Different firms have different aesthetic specialties. If you’re a photographer trying to partner with an event planning company, consider whether your style and approach will mesh. “At CCW, we want photographers to capture candid, or certainly natural photographs that convey a mood. Long gone are the days when you have people line up in front of the church, or those other really orchestrated shots. I don’t know of anybody who does that anymore. People seem much more attracted to natural, in the moment, narrative.”

2. Learn to work with a firm and take direction. “We’re very big on creating moments in the events – different opportunities for exciting photographs. Because if you’re going to spend one, two, three hundred thousand on an event you definitely want to have memories that are well shot and well photographed. That’s why we often make suggestions to our photographers before the event. We don’t spend hours and hours, but we certainly do offer our advice and want to find photographers who are amnenable to collaboration.”

5 Insights From an Event Planner: Jeremy Norman

Jeremy Norman, Creative Director

Website: www.congruentcreativeworkshop.com

Facebook:Congruent Creative Workshop

Twitter:@CCWNYC1

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 11

Takeaways• Understand an event planning firm’s

speciality before you present your work and know whether you can deliver the style they're looking for.

• Know how to take direction and be ready to be told what shots to take.

• Create a well-curated online gallery and keep it updated.

• Partner with other event specialists such as hair and makeup artists for cross-promotion.

3. To promote your work, create well curated online galleries. “If you have a nice online portfolio, with high quality, creative and well-curated photographs then we would be much more inclined to bring you onto a project,” he says. Not only does this get you the job, but it could help the firm bring in new clients, too, which means more business for everyone. “Good photographs are a huge selling point. A lot of clients can’t envision the event, even if you use very descriptive language. When we have photographs, they can evoke a mood and can convince a potential client to come on board with us.”

4. Be great with people. Jeremy knows that if a photographer isn’t working well with a crowd, he’ll hear about it from clients. Word of mouth is still a huge source of promotion. “I find that most of the time you get business in this industry it’s because people attend an event, like it, and ask who did it. It’s very much a referral-based industry.”

5. Establish partners outside the industry.When it comes to marketing tactics, Jeremy suggests partnering with local vendors who also specialize in mood catering or branded events. For example, if an event requires costumed wait staff or a performance requires actors with theatrical makeup, then a photographer who works with local costume designers and makeup artists will be an easy sell for the planner building a crew in the area. Jeremy says, “partnering with makeup artists seems highly effective because makeup, and the way photographs look, go hand in hand.”

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 12

Charr Crail is a photographer based in Sacramento, California. Previously a photo editor at the Sacramento Bee, Charr is a full-time freelance photographer who covers a variety of events including concerts, theater, and corporate functions. She is both a journalist and fine art photographer whose work has been recognized with many awards such as the WPPI Grand Award. She’s also been included in the Professional Photographers of America Traveling Loan Collection for two consecutive years.

With years of experience, Charr is an expert in an area that many people overlook when they think about becoming an event photographer: people skills. Here are Charr’s techniques for mingling with groups, putting people at ease, negotiating crowds, and the secret to becoming “part of the family” as soon as you walk into a room.

1. Get to know the scene.“When you walk into a room, size up the place – see what’s happening, where it’s happening, and scope out your contact, if there is one," Charr says. After that, wait for things to heat up a little. Look for the liveliest people in the room – those are the ones who usually make the best pictures.”

2. Break into the action.“As an introduction, I walk right into the middle of the action and capture people unaware. This approach is done in a fun, playful way and most people are very good-natured about it. It breaks the ice and you can get very lively group photos that way. While many of my clients absolutely love posed group shots with their special guests, the technique I use often gets the subjects having fun. This elevates the 'stand-em-up and pose ‘em’ kind of shot to something a bit livelier and far more natural looking. The second thing I do is to sit back with a long lens and look for people talking in pairs or groups and capture great expressions while they just do their thing. Like a fly on the wall.”

8 Tips to Make the Crowd Love You: Charr Crail

Charr Crail, Event Photographer

Website: www.charrcrail.com

Blog:www.charrmer.blogspot.com

Twitter:@charrmer

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 13

Takeaways• Scope out a social scene for the liveliest people

in the group – they make for great images.

• Be bold – walk right up to groups.

• Be nice, then give direction. People appreciate it.

• “Know no strangers” and you’ll be treated like family, everywhere you go.

3. Be happy, and then tell people what to do.“Just having fun with people, being happy and friendly, makes all the difference in the world. Besides that, the key to putting people at ease, no matter what the situation, is to simply talk to them and tell them what to do. Don't be afraid to be in charge. Most people are happy to have the direction!”

4. But what if someone says no?“My go-to tactic for overriding a 'naysayer' really depends on the situation. You can usually tell if it’s a real no or just an, ‘I’m kind of shy, and/or having a bad hair day,’ kind of no. That said, I usually size up the situation and tell them why I want to photograph them. You might love what they’re wearing, they have a great laugh - it could be anything. And after you clue them in, they usually change their mind. Very rarely will you get a true no, but if you do, totally respect it, let them be, and move on to the next situation. There is no reason at all to insist unless they are the focus of the assignment. And in that case no isn’t a good option, so just level with them.”

5. Be fearless.“Most corporate events tend to be large meetings and it can be intimidating. You may be the only person up and walking around, prowling for the right angle. But that’s what it takes. You have to be fearless about getting in the way.”

6. Be part of the family.“Years ago I adopted an attitude of 'know no strangers.' It’s become one of my strongest attributes. You never feel like a stranger and you never get treated like one – walk in as one of the family and invariably you’ll get treated that way.”

7. Be confident."Under normal circumstances simply being nice and polite while slowly edging your way through a crowd will do the trick. Often letting people see the camera makes a difference. I’m not sure why, but if you carry yourself right, with confidence, people know you’re doing a job. More often than not they tend to be cool and let you through.”

8. Mentally prep for different events.“I have a mental light switch that I turn on before jobs. If you’re on location, read the room, bring as much energy as you can, and then adopt the mood that’s appropriate.”

Photo Credit: Charr Crail

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 14

Rory Tischler is the Art Director of FOOD & WINE magazine’s Marketing Department, based in New York. From his work with “advertorials” (advertisements with an editorial bent), to event planning and design projects, Rory’s job title covers many aspects of creative direction. With a background in advertising and event photography under his belt, Rory understands the marketplace from the perspective of event producer and photographer.

We asked Rory to tell us what he looks for in event photographers, what trends he sees in event images, what the current challenges are for both buyers and photographers, and how the issue of image ownership comes into play for event photographers hired by a publication.

Q: When searching for event photographers to hire, where do you turn first?I talk to photographers I’ve worked with in the past who I feel understand what we are looking for and what we need. When I find someone I like who consistently delivers, I stay loyal. But we do have a lot of events all over the country and can’t always fly out our preferred talent. In that case we look to hire someone local to the event. I love recommendations, so I usually contact my go-to photographers and see if they know anyone. Since we’ve worked together, they understand our aesthetic and what we are looking for, so it’s a good way to find the right fit.

I’m also seeing more and more talent via social media. I haven’t hired anyone I’ve discovered that way, yet. But I have definitely been in touch with some talent I’ve seen on Facebook and Tumblr. After that, I usually go to a little known website called Google.com. I have found great talent that way, but it takes more time and you run the risk of offending clients. Someone may take great photos, but doesn’t do all the other things needed of an event photographer, like deliver on time or act professionally.

Q: How should a photographer approach you with work?I like getting an email with a link to an online gallery of an event they just shot. It’s quick and noncommittal. I can review, bookmark it if I like, and possibly reply with questions. And then if a photographer shoots an event that might

Q&A with FOOD & WINE’s Art Director: Rory Tischler

Rory Tischler, Art Director

Website: www.foodandwine.com

FOOD & WINE Classic in Apsen:www.foodandwine.com/classic

PhotoShelter's video interview with RoryFOOD & WINE Discusses Premier Event Photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 15

Takeaways• If you’re covering events that look similar to

that of a publication’s coverage, send links of your images to the art director.

• Determine if sending links to online galleries might be more effective than print mailers!

• Be prepared to sell the rights to your event images.

• Not all photographers have to be videographers. Being highly specialized is still a good thing.

• After an event, be ready to send 20+ photos the next day for use on Facebook and other social media sites.

be relevant to what we do, he or she should send us a link. As you get more current event photos from one photographer, it starts to resonate and you get a picture of how they work. Plus, it shows that they are not just sending you their portfolio with 30 to 40 amazing shots from various events. I like to see the full set of deliverables, because there are so many different types of shots that are important - décor, guests, sponsor integration, atmosphere, food, etc. In the end, sometimes the best shot of the event is the least important, so it’s critical to see and get the spectrum.

I don’t love physical mailers. When I get them I tend to look at it, then it sits in one of my piles of things I should review but never do. And then in the end it winds up in the garbage, which feels so wasteful (in paper and printing cost).

Q: Do you look for event photographers who shoot still and motion?We do hire people to shoot video at our events, but I like to hire separate crews. I know there is a lot of overlap these days with DSLRs, but I like when my photographers are focusing on taking photos. A lot of these events are only three hours, so there is not a lot of time to focus on both. And the last thing you want is your photographer missing a great moment because they are setting up for some video.

Q: How do you prefer to have the finished photography delivered and how quickly?DVD, and as fast as possible. Well, let me back up. I understand that processing, sorting and color cor-recting takes time. I don’t want to jeopardize the final product, but timing has become everything. Photos need to go up on social media the next day. We ask our photographers to pull 20+ photos that they can deliver the next day so we can put them up on Facebook as a recap. This is something that our PR depart-ment, sponsors, guests, and talent all ask for now.

Q: What should event photographers be aware of when it comes to the rights to the images they’ve shot at events?When working with photographers, one of the first things I make sure they understand is that we will need full ownership of photos. This is a must. We have way too many scenarios where the photos might be used again to have to go back to the photographer to negotiate usage rights. Sometimes the photos wind up in sponsor advertorials, event recaps in magazines, industry articles, websites, videos, etc. We need the ability to grant our advertisers rights to use these photos where appropriate.

Q: What trends in event photography do you see?I’m seeing a lot of photo booth-like setups at events. Sponsors love these, and guests love having their photos taken in them. I know it’s a simple formula, but it’s just fun.

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 16

Michael Seto, a freelance photographer specializing in event, corporate, and documentary photography, describes his shooting style as documentary or reportage, incorporating “the narrative of an event, with a dash of lifestyle.” He applies this to a gamut of events: from multi-day affairs with high-profile, government officials and diplomat attendees to corporate gatherings, concerts, stage performances, and film set photography. His clients include, Credit Suisse, Condé Nast, Smithsonian Institution, UNICEF, City Harvest, Billboard, and Brides.com.

Born and raised in San Jose, California, Michael Seto initially launched his photography career by first turning to Craigslist, taking low paying jobs, then working his way into his current role as the sole proprietor of Michael Seto Photography.

Aided by his background, he has created a niche for himself in corporate and government events. “When people find out I was in the Marines, they often say, ‘That figures, I can tell by watching the way you work.’”

“There is a no-nonsense, make-it-happen mentality instilled by the military, to get the job done under difficult circumstances,” Michael says. “That mindset helps a lot in my event work. I’m a self-guiding solution for clients.” These days Michael has a stable of event clients and has made himself one of the primary go-to event photographers nationwide for Billboard magazine.

Michael’s primary source of revenue comes from his day rate or creative fees charged to cover events. The “creative fee” applies when he does “commercial or industrial work,” which takes more production. He does sell his images as prints and downloads, though he doesn’t do much stock or wire service sales. What it takes to establish a regular flow of event revenue, as Michael says, “is increasing your wallet share from existing clients – going from covering one event to multiple events for them.”

Though his primary marketing tools are his website, bolstered by his Facebook page and blog (or showing up on a Google search for “New York corporate event photographer”), word of mouth is still key. “Eighty percent of my new clients come through referrals

From Planning to Execution: Michael Seto

Michael Seto, Event Photographer

Website: www.michaelseto.com

Blog:www.michaelseto.blogspot.com

Facebook:Michael Seto Photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 17

from other clients. If you do good work and provide exceptional client service, then your clients help to market you. Everyone in this business talks to one another about vendors and photographers they like to work with.”

When it comes to working an event, Michael is meticulous. From planning to execution, he knows what makes a successful event photographer. “Prior planning, situational awareness, and adaptability are key attributes. Prior planning is having a well thought through game plan, coordinated with the client’s run-of-show, which allows you to be in the right place, at the right time, with the right gear to get the shot. Situational awareness means a sixth sense for ebb and flow of the event, knowing your surroundings, watching key persons, and anticipating where the action might take place. Adaptability – things always change, so you need to craft the shot with what you have. For example someone might say, ‘We’re doing the group shot right here and now,’ when you’re not set up to do so. Well, make it happen.”

When it comes to crowd control, says Michael, “Smile, smile, smile – a pleasant demeanor is the perfect ice-breaker. Look and act like you’re having a great time. Introduce yourself, ‘Hi, I’m Michael, shooting for XYZ;’ or offer a compliment, ‘You look fabulous, can I get a photo of your group?’ With more high profile guests, I wait for a break in the conversation to ask for a photo. I always take two to three shots to ensure I get the right expression and open eyes on everyone.”

Job preparation for Michael can mean meeting with an event planner to get a walk-through or run-of-show, but it can also mean visualizing the steps of the event in his mind, picturing where he’ll need to be, and when he could get that winning shot. “I finished an event for New York City Parks Foundation's SummerStage, but did not put my camera away – you never know what you will run across. On my way out, a girl was dancing by herself and I managed four frames. One of those perfectly combined the branding and spirit of the event for my client, and now they use this shot on their website.”

One tip Michael would give to new event photographers is, “understand the basics of business finance, taxes, photo rights, insurance, as well as legal issues like model releases and Worker’s Comp,” he says. “There are plenty of organizations like APA, ASMP, and PhotoShelter that help photographers with these issues – so use them.”

“I love the challenge of getting great candid shots. It’s about observation - seeing the rhythm of what’s happening around you, and finding Cartier-Bresson’s decisive moment. I shoot with both eyes open and constantly scan the room for those moments.”

Photo Credits: Michael Seto

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 18

Takeaways• Prior planning, situational awareness, and

adaptability are the keys to preparing for your event job.

• Be sure to get business insurance if you haven’t already!

• Add value to your services so that you can increase your fees – you only have so many hours in a day, so learn how to make what you do more valuable.

• Be a Swiss Army knife - know how to shoot architecture, food, people and of course the event, too.

Michael also cautions photographers running their own businesses that you can only work so many hours a day. What you need to do to raise revenue, he says, is match your fees with the services you can offer every client. “Figure out how to add more value for your clients and scale up your fees commensurately. Come up with innovative solutions for your clients’ imagery needs and charge for those. For example, adding on-site printing services, photo booths, remote cameras, time-lapse, etc.”

Like most event photographers, Michael has to negotiate two constants in the market – how to price his work and how to stay ahead of technology. “One of the bigger challenges is the race to the bottom on pricing – too many photographers are willing to work at unsustainable rates, which hurts our industry overall.” And technology proves to be its own challenge. “At events, people take a shot with their iPhones and tweet the images online two seconds later. An image delivered 30 minutes later is now too late.”

Still, Michael believes that keeping clients, maintaining a consistent flow of work, and being paid what his skills are worth is a matter of educating clients on the value of a professional photographer.

"If you do good work and provide exceptional client service, then your clients help to market you."

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 19

Craig Mitchelldyer’s vibrant photographs catalogue people – at their jobs, at play, in their element. Besides private clients, corporate and athletic portraits, his editorial work has appeared in USA Today, The New York Times, Newsweek, Outdoor Life, and many local Oregon publications. Though his commercial and editorial photography is split between sports and “people with ties,” as he says, Craig also shoots weddings – between 40 and 50 every year.

Craig’s career as a photographer began in 2000 when he shot for a newspaper in Portland, Oregon, where he covered sports, some news, and features. In 2004, the hours of a newspaper got old (they were long, the pay wasn’t fantastic) and that same year Craig’s first child was born. He decided to start doing weddings.

“The first couple weddings I shot the way I thought weddings were supposed to be done,” Craig says. “It was painful and I hated it. But then I had this epiphany. I said, ‘I’m going to approach this wedding like I’m shooting a story for the newspaper. And once I did that, it was fun. As a photographer there’s everything in a wedding you could ever wish for: features, portraits, action, emotion – all rolled into one event. I approach weddings the same way I’d approach a soccer or football game – shoot the peak action, reaction, and emotion. That’s where the best pictures are.”

Craig initially built up his wedding photography clientele organically – through connections made on newspaper jobs or from word-of-mouth referrals. Now weddings make up roughly half of his yearly revenue. And over the years, Craig has developed a style that sets him apart in the photography market – something he says his clients call “real.”

“One comment I get that really cracks me up is, ‘Your pictures look so real.’ I say, that’s because they’re real moments. People feel connected to my pictures because there’s a lot of emotion in them.” Craig strives to deliver image packages (as CDs and image galleries) that relay a holistic sense of an event. “I want to tell the story of the day. I’ve been married for ten years myself, and I don’t really remember my wedding. My goal is that in ten, twenty years you can look back on your pictures and remember what everything was and feel the same emotions looking at your pictures as you felt that day. Those are the things that are really important to me when shooting wedding pictures.”

Action, Reaction & Capturing Emotion: Craig Mitchelldyer

Craig Mitchelldyer, Event Photographer

Website: www.craigmitchelldyer.com

Blog:www.blog.craigmitchelldyer.com

Twitter:@craigmdyer

Facebook:Mitchelldyer Photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 20

Takeaways• Create unforgettable memories for your clients.

• Get to a venue early, scope it out, and prep your gear.

• Know the cost of being in business and charge accordingly. This includes knowing what you need to make in order to survive.

• Having an assistant who knows how you work can be a huge boost to your efficiency on the job.

The day of a wedding, or any event he’s covering, starts for Craig with an assessment of the location. “I’m early to everything. If I’m not five minutes early I feel like I’m 30 minutes late. The first thing I do is walk around the venue. I see where the light is coming from and where people are going to be. Then I do a walking plan.” He sets up lights in advance, and preps for eventualities like rain or clouds.

When it comes to working with crowds or herding people for a group photo, Craig has a built-in advantage, “I have a humongous family – six brothers and sisters, and about 45 cousins. Growing up in my family, if you didn’t speak up you were going to get walked all over. So for me it’s not a big deal to take to a big group of people and say, ‘This is what we have to do, let’s do this real quick.’ If you don’t waste people’s time, get more done and quickly, they appreciate it.”

For the past four years Craig has had an assistant on staff who goes on all of his shoots. It’s important to have someone who knows how he works rather than having to hire a new freelance assistant for every job. This enables him to focus on capturing the moments that he’s been hired to see.

When it comes to marketing his work, Craig keeps up a website, Facebook page, Twitter, and Instragram accounts. “The only thing I ever Instagram are pictures of my kids. But it’s another way of keeping your name out in front of people. Every time I use Instagram it goes to my Facebook and Twitter page. People might not hire me today or tomorrow, but if I’m on their mind once a week then eventually when they do need a photographer, that’s when they say, ‘Hey, I know this guy is really good.’”

It’s still all about referrals. And in a referral market it’s very important to keep your clients happy. “The biggest mistake photographers make is thinking more like a photographer than as a customer. Anything that I do in my business I think, what would the customer experience be? Put your customers first.”

Craig knows that the market has changed considerably since he got started, but there are a few things that remain true for anyone looking to make photography a career. First, he says,“Know the market. Know the value of what you're doing and the cost of doing business. To be a successful photographer you have to be a business person first and a photographer second.”

Photo Credit: Craig Mitchelldyer

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 21

Angela Jimenez is a photojournalist, event, and documentary photographer based in Brooklyn, New York. She is a contributor to the New York Times, the Newark Star-Ledger, and a contract photographer with Getty images; her many clients include Newsweek, San Francisco Chronicle, the Auburn Theological Society, and the YMCA. She also teaches visual storytelling workshops at New York University’s Graduate School of Journalism.

From a background in newspaper work and a Master’s in Photojournalism, Angela parlayed storytelling skills to event photography. “As a photojournalist, everything is an event of a different kind, so you become really fluent in stories – in making a picture and figuring out what the story is, no matter what situation you’re thrown into.”

Today, Angela is a photojournalist, documentarian, event photographer, and owner of Angela Jimenez Photography. Her revenue is comprised of the work she does for editorial clients, portraiture, teaching, and event photography. “What does it mean when you say you do event work? For me it means: parties, benefits, galas (which are sometimes the same thing), fundraising events, award events, activist actions, cultural events, performances, panels, memorial events, and public relations events (which could be a ribbon cutting or professional portraits for a non-profit). Those things are all overlapping categories, but they are the more traditional reasons for why organizations think they need to hire a photographer.”

Though Angela covers many types of events, she primarily works with nonprofits. “Nonprofits figured out years ago that images are what move people, and the human story is what makes people feel connected to a cause,” she says. Covering events for nonprofits is a way for Angela to generate income while remaining loyal to her ideals, interests, and her art form. It’s a two-way street because for a nonprofit, Angela’s background as a photojournalist is desirable – not only can she tell a story, but as she says, “nonprofits are often in the position of having to communicate their ideas to the media or their supporters. So they see a photojournalist as somebody who knows how to do that.”

Angela’s niche within the event photography world is something she developed out of her own interests, combined with her training. “You have to figure out what it is you do well,” she says. Telling a story from images taken at a corporate or

Photographing Events for Nonprofits: Angela Jimenez

Angela Jimenez, Event Photographer

Website: www.angelajimenezphotography.com

Blog:blog.angelajimenezphotography.com

Facebook:Angela Jimenez Photography

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 22

Takeaways• If you want to work on meatier projects, you

have to pitch them.

• Learn how to expand a job to include an element that you’re interested in, like video.

• Get the “grip-and-grin” shots and then get the shots that are off to the side – this will help you create the story of an event.

• Whenever you can, be prepared with a deeper knowledge of your clients’ organization. Build stronger relationships and repeat clients.

nonprofit event is a matter of understanding the genre (what images are expected) and watching for what makes every event unique.

“You have to be really proficient at the ‘grip and grin’ photos, the podium photos, and the things you’re supposed to get for PR purposes,” says Angela. “But I also try to bring something else to the table. When you show up, look for the other things that will flush it out, make it more human – photos of people interacting and the things that are a little off to the side.”

As often as she can, Angela tries to develop a deeper connection with her clients by researching their cause and learning who’s who in the organization. This, she says, can open doors to larger collaborations. For example, when one of her nonprofit clients hired her to do portraits, she decided to bring a video camera along, too. Because the organization’s mission was a fit for her, and her interests, she knew that a larger project was something that could work for both parties. Working with a team, she created documentary footage along with the portraits she was hired for. “We showed it to them and they were intrigued by it. Then the idea of doing a short video piece came to life. People aren’t always going to hand that to you – you have to suggest it.”

Being knowledgeable about a company and taking the time to read up on what they do is not just a way to make informed images that help create an event narrative – it will also make for happy clients. Angela does a few things to keep her event customers satisfied, including a contract that allows her corporate clients to share her photos with their partner organizations, which will keep her name in their minds. This has garnered Angela more than one client who took note of her work and called her out for a job.

One thing Angela has learned is that delivering on deadline and making it easy for clients to access their images is crucial for running her own business. “For each client I make a collection so they always have one link they can go to. And this is where PhotoShelter comes in.” She also has a rate sheet with breakdowns of actual costs and hourly rates so that the client can see exactly what they’re paying for. This, says Angela, builds trust and confidence. And for an organization that is consistently bringing her work, Angela will work out a discounted rate. With these practices in places, Angela says that you can help “make yourself a partner in what a client is doing.”

Lastly, keep in touch with your past customers. “It’s so easy to let that trail go cold. People turn over all the time. Keep those connections fresh.” And of course, be aware of the market. The way it stands today, event photographers have to produce images almost immediately. “I used to deliver event photos a week after the event – that just doesn’t fly anymore. Now I deliver the full set 48-hours later, and I will deliver a smaller set a couple of hours later for another small fee if they want to do that. That’s a big change.”

Photo Credit: Angela Jimenez

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 23

Jamey Price is a sports photojournalist based in North Carolina. His images of horse racing and motorsports have appeared in Autosport Magazine, Sports Illustrated, The Washington Post, Yahoo.com, ESPN.com, and many others. An award winning photographer, he is on contract with QC Exclusive Magazine, and Queens University, in Charlotte.

Jamey grew up around horses. Even though the local equestrian pastime of choice was “showing” – where the objective is controlled trotting and small jumps, Jamey decided that his sport was steeplechasing – a take on horse racing where jockeys ride thoroughbred race horses at 30 miles per hour, jumping twelve to fourteen 4ft-hurdles along the way. With rolling hills as a backdrop, steeplechasing is as beautiful as it is risky. In 2008, Jamey got his first SLR. “From that point on,” says Jamey, “I would ride a race, jump off my horse and start photographing the other riders while still in all my riding gear, shoot the next 2-3 races, and then run back to the jockey’s room to saddle up for the next race I was riding in. It’s exhausting.”

A year ago Jamey went full-time as a professional photographer. His primary source of revenue doesn’t come from horse races, but from his coverage of motorsports. “I wish that being a photographer meant you have the ability to be really good at one thing, but it simply doesn’t. Early in my career I got thrown in the mix of doing weddings, events, parties, work for schools, and pretty much anything else that pays. However, as I've grown as a professional, my photography business has evolved into sports and motorsports. I will no longer accept jobs shooting weddings.”

And the way Jamey honed his services to exclude the events that weren’t in his field of interest was by being very efficient on the job as well as delivering consistently great images that offered something a little different. “A personal motto I have is ‘if you see a pack of photographers shooting in one corner, turn around and walk somewhere else.’ Being different is what has worked for me. But it's hard to market ‘different.’ The images have to speak for themselves.”

Great race images begin before the job. “The first thing I do upon arriving at a racetrack (be it horses or cars) is unpack and go for a walk. Each facility is different. If I haven't been there before, I need to know the ins and outs of the job before shooting the races. Showing up unprepared is the fastest way to fail,” he says. So, Jamey carries a waist belt on the job that holds his rain gear, a knife, a water bottle, extra batteries, lenses, and memory cards. “The fashion photographers of the world may laugh, but the fact is that especially during a long endurance car race, we don't have the luxury of going back to the desk to grab other lenses.”

Getting In The Action: Jamey Price

Jamey Price, Sports Photojournalist

Website: www.jameyprice.photoshelter.com

Blog:www.jameypricephoto.com/blog/category/blog

Facebook:Jamey Price Photo

Twitter:@JameyPricePhoto

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 24

Takeaways• As a sports photographer, carrying a waist

belt with all the necessary gear important than worrying about fashion taboos.

• Photographing certain events involves long days, so you have to be passionate.

• Balance meeting the clients' needs with your sanity and standards.

• If you see a crowd of sports photographers, walk the other way. Get that other shot, and do it well.

And of course, all of this preparation is put to task when the event begins. Then Jamey has to become not only “an ‘action’ photographer, but also an artist, an editorial photographer, and a commercial photographer,” he says. “You have to wear many hats because the teams need a little of everything from a race weekend. I’ve had people say to me, ‘Wow! Motorsport photographer! That must be fun.’ Well yes, yes it is. At times. But it also involves a life on the road, away from home, and very long days at the track for not nearly as much money as you’d think."

The job of sports photographer takes plenty of time out of the field, too. Jamey promotes his business on social media, though he relies on word of mouth as well. He knows that keeping clients happy is important, and he does that by delivering images in easily downloadable PhotoShelter galleries. He is not a fan of CDs that get scratched or discarded.

But, he finds, meeting a client's’ need is still the greatest challenge. “Often when you’re working alone, you have so much to juggle that it can feel totally overwhelming and exhausting. They may ask you for something that you simply don't have time to do. It’s about juggling what they need and want with what you need and want,” he says.

One thing Jamey is adamant about however is maintaining the right to use his images for self-promotion. In the world of sports photography, clients are generally only looking for one-time use rights, so balancing his needs with the client’s, in that regard, is not too difficult. “Somewhere in that middle is working efficiently and not burning yourself out. It’s a challenge in every way, but one I very much enjoy.”

“A personal motto I have is, ‘If you see a pack of photographers shooting in one corner, turn around and walk somewhere else.’" Being different is the best thing that has worked for me. But it's hard to market ‘different.’ The images have to speak for themselves.”

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 25

Andrew Funderburg is the CEO and Founder of Fundy Software, an album building software for event photographers. Andrew started his career in the photography world as a wedding photographer in Japan. He then became the contracted photographer for Iron Chef restaurants and his own wedding albums were featured at Asuka Books.About a year after Andrew Funderburg’s first child was born in 2000, the digital prosumer SLR camera hit the market. Naturally, Andrew’s interest in photography grew as he started taking pictures of his kids. At the same time, Andrew was watching the wedding photography industry change online – it was getting artsy. By way of a connection, Andrew hooked up with a wedding photography studio in Japan and was asked to second-shoot. “At the time, you were given ten rolls to second shoot,” he said. It was by second-shooting that Andrew landed a contract with three Iron Chef restaurants in Japan, and he opened his own studio to start shooting weddings.

After about six years of shooting weddings, Andrew left Japan. It was 2008 and he had been away from the U.S. for thirteen years. When he moved back with his wife and family, he was ready for something new, or at least free weekends. That same year he launched Fundy software, photo album design software built to reduce time spent creating galleries that are delivered to clients (wedding photo albums, for example). And in 2011 Fundy Album Builder won Professional Photographer Magazine’s Hot One award for best album design software.

Though his focus has shifted from being an on-the-ground event photographer, Andrew knows the ins and outs of the wedding business. A bit of advice for a photographer trying to hone his or her skills: a shot list isn’t all that important for a wedding. The necessary pictures become second nature. But other than that, Andrew says, shooting weddings takes a little practice, pure and simple. “The more you do it the better you get and you know being at the right place at the right time is often just an instinct.

One thing Andrew learned was that having an ally at a wedding made crowd control infinitely more easy. “Find a nonessential relative – an aunt or a great aunt is a good person to help with crowd control,” he says. “When you need to get a formal shot and Uncle Bob is missing because he’s off eating cake somewhere, she’ll know who uncle Bob is, and be able say, ‘Bob get over here. You need to have your picture taken.’ If I say that to Uncle Bob he’s not going to listen, but if she says it then he’s going to get his rear over there.”

Turning Time Into Money: Andrew Funderburg

Andrew Funderburg, CEO and Founder of Fundy Software

Website: www.fundysoftware.com

Blog:www.fundysoftware.com/blog

PHOTOSHELTER | GROwinG YOuR EvEnT PH O TO G R a P H Y B uS i n ES S : Fa L L 2012 26

Takeaways• Find a nonessential relative or attendee

at the event to help you with names and herding groups for key photos.

• Read business books! And learn a little psychology to understand how people act and react.

• Learn how to streamline your work – invest in tools that will cut down on post-processing so you can spend the time on promotion and marketing.

• Develop a niche to make yourself stand out from the crowd.

Andrew would also tell an event photographer looking to start a business that the most important thing he or she can do is read business books and brush up on Psych 101. “It’s your job to create your own profit and I highly recommend reading a ton of business books. It’s probably the best money you can spend. If the choice is between ten business books or a new lens, the ten business books are going to do you a lot better than that new lens in the long run.”

And a little human psychology goes a long way for someone whose business it is to interact with groups. “One of the most famous is, How to Win Friends and Influence People, which I didn’t read for a long time because I thought that the title sounded cheesy and it wouldn't have that much great info, but it is just jam-packed with wonderful information,” he says. Andrew also recommends “any sort of book like that that talks about getting people to do what you need them to do without forcing your will upon them or making them feel uncomfortable in any situation.”

The bottom line is being able to split your time between doing fine work at an event and knowing how to market yourself. The latter is generally the tough one. Andrew suggests focusing on a region and keeping active with a blog or social media. “The key to marketing for anybody is to become friends with the vendors in your area. Help promote them and they’ll hopefully help promote you. Then your recommendations are going to get you more jobs than any advertising you put there.”

In addition, make yourself standout. “People who are very successful event photographers are the ones who have a niche in the market.” For example, Andrew described a photographer he knows who specializes in photographing plus size brides. “She has studied posing plus size brides – that’s her main focus. Think about that and how many there are in her local market, and she gets every one of those. Instead of trying to get a few in a huge market base, she is capturing 100 percent of the business in her marketplace.”

“The bottom line is being able to split your time between doing fine work at an event and knowing how to market yourself.”

CheCk out PhotoShelter'S library of free photo business and marketing guides

Get them all: www.photoshelter.com/mkt/research

http://www.facebook.com/PhotoShelter

@photoshelter

http://vimeo.com/photoshelter

http://www.photoshelter.com

FIND US ONLINE