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  • London event videos are fast becoming one of the most popular ways to capture london event videos. With the rise of social media and increasing appetite for visual content, it’s always a good idea to london event video your london event video. Question is, how much will it potentially cost?  

This is often the first question we get asked by new clients.  

The conversation usually begins like this: “can you give me an approximate price based on a 2-day london event video ?” Most times, there isn’t enough information for us to provide a useful quote.  In this blog, we will discuss how we go about pricing london event video london event video filming. We will walk you through our process and the different factors that are linked to cost. 

Where To Start?  

Like any other service, there are always cheaper and more expensive options. The first question you want to ask yourself is “what is my london event video media budget?”. This will guide you towards whether you should speak to london event video filming freelancers or an london event video london event video filming company. 

Lower Budget – Freelancers 

If your london event video media budget is less than £500, it’s probably best to look at freelancers as cheaper options. Freelancer costs can be anything between £100 – £500 depending on their experience, the equipment they use and how competent they are at editing. If that is still too expensive, you might want to look for students or junior london event videographers who are looking to build their portfolio.  

Higher Budget – The Professionals 

The digital age has brought much change in the way we communicate, interact and network with one another. The london event videos industry has profited from this as companies and brands look to go back to basics and connect with their clients in a F2F environment. 

Brands are investing more in more in london event videos as they look to add experiential marketing to their mix, consequently, there is a drive to capture the experience and create FOMO (fear of missing out)  for those who didn’t attend! 

This is where we really create value for our clients as our specialist london event video filming teams look to capture the unique moments visually and narratively from the day. We then pass the footage on to our team of editors who bring the story of the day together, delivering cinematic, shareable content that captivates audiences. 

Factors Influencing Price 

Once you understand your initial budget, you can start thinking about what things you would like in terms of london event video london event video outputs. Are you looking for a recap of the day showcasing the best bits in a highlights london event video? Or will there be multiple things happening at your london event video simultaneously that you would like captured? A good london event video london event video filming company will walk through your aims and provide suggestions on what they think would work best.  

There are many factors which will influence the price including the london event video type and size of the crew. The following points will equip you with the right knowledge to help you understand how these factors will influence costs. 

Type of London event video 

The most important factor in relation to understanding costs will be the type of london event video. Will your london event video be B2B or consumer-focused? The UK london event video industry is worth an estimated £42bn, and out of this Conferences and Exhibitions makeup over 50%. These type of london event videos are usually large, with the average conference drawing in 258 attendees. Consequently, this translates into larger coverage for such london event videos and multiple london event video outputs. For an average conference, we usually record panel talks, presentations, interviews and networking.  

Other london event video types which may not require such coverage and multiple outputs include charity and party london event videos. There is obviously a big difference between a 2-day conference and a charity london event video, it’s important to understand this when looking at london event video london event video costs. 

Size of The Camera Crew (London event video Coverage) 

The size of the camera crew is probably the single most important factor in the cost of your london event video london event video. Whilst the london event video type is a good starting point, what actually happens at your london event video will determine the size of the crew.  

How complex is the london event video agenda? 

Will there be multiple stages? 

Will there be workshops?  

These are some questions to think about when understanding the size of the camera crew. As a rule of thumb, we recommend one crew member assigned to the different parts of your london event video content. For example, 1 crew member dedicated to talks, 1 dedicated to highlights footage and 1 dedicated to interviews. This is especially true if you have a complex agenda, with multiple things happening all at once. 

How Long Is The London event video? (Duration of the London event video) 

What is the duration of the london event video? This is another important factor which directly correlates to the cost of your london event video london event video.  

Is your london event video a half day? Full day? Or multiple days?  

If your london event video is multiple days, requiring multiple london event video outputs, you should think of package pricing. If your london event video is a half day, hiring a full day crew along with equipment may not be necessary. In addition to this, understanding whether you will need a full crew on all days can help you get your costs down. A good london event video media company will walk you through the options and help you decide what is necessary. 

What Outputs Do You Want? (London event video Outputs) 

Another factor that relates to london event video london event video filming costs is what london event video outputs you’re looking for. This is also closely linked to the amount of camera crew you will need and post-production time. Our clients usually look for at least a 1-2 minute london event video highlight london event video when booking with London Filmed. This can sometimes be achieved with one crew member, for a cost starting at £1,000 depending on the london event video. London event video types suitable for this type of set-up are parties and charity london event videos.   

Other types of london event video-based london event video content we can create are Vox-pops, presentations, social cut downs and interviews. 

The majority of the london event videos we cover are conference and exhibition based where clients often require speakers, panels and presentations filmed. As we mentioned before, the more complex the london event video and london event video outputs, the more crew you will need. Having a solid idea of exactly what you want can help you get a package deal for your london event video london event videography, an option that nearly all of our clients opt for. 

How fast do you need the finished london event videos? Whilst a freelance option could be suitable for longer time frames, most of our clients need their london event videos delivered fast. This usually means an editing team is always on hand to start working on the footage captured by the camera crew as soon as they get it.  We offer different delivery timeframes and pricing based on your requirements. Take a look at our different options below: 

Express Turnaround: 1- 3 Working Days 

Normal Turnaround: 5-10 Working Days 

OTD (On The Day): Same Day Delivery 

Delivery Time  

It’s important to bear in mind that delivery time will also be dependent on the complexity and style of your london event video london event videos. For example, heavily animated london event videos require a lot of post-production and can significantly increase the time and cost. For this reason, will always consult with clients about their expected deliverables and timeframes before the london event video. 

Cameras and Equipment 

Have you thought about the necessary camera and sound requirements? Let’s start with sound. It’s imperative that you have the right microphones and sound equipment if there will be speakers. This will usually be handled by the AV crew at your london event video venue who will need to liaise with your london event video  team. Having a proactive london event video team will take the pressure off your shoulders when it comes to arranging the sound requirements. If an AV crew is unavailable your london event video media company should include microphones as part of the equipment. With simple set up costs starting from £850, you will reap huge benefits in terms of the quality of your london event video outputs.  

The london event video quality of your end product will depend on the type of camera and format used. What are your requirements? Having your london event video filmed in 4K will require higher quality cameras and more time editing in post-production. We usually recommend a format of 1080p, which can be viewed in full HD across different devices and social platforms. As this is industry standard, it won’t add to your costs. Be wary of proposals insisting on 4K london event video filming, as most devices can’t view this format. Having your london event video filmed in 4K could significantly increase pricing without much-added benefit. Conclusion 

This blog will hopefully have given you some insight on what to expect when it comes to pricing around london event video london event video filming. As every london event video is different, we spend a lot of time creating bespoke quotes based on the aforementioned factors.  

As your trusted media london event video partner, London Filmed will take you through the full london event video london event video filming process, ensuring full satisfaction. 


Corporate Event Photography  


London corporate event shot list  


These 6 types of photos provide a complete picture of most events whether it is a multi-day conference with 100,000 attendees or a 2 hours award ceremony at your local chamber of commerce. This type of shot list also allows you to systematically divide and conquer individually or as part of a team.  

he Grip and Grin  


The first is the basis of all London event photography, “The Grip and Grin”, also known as the “Stop and Smile”. These are taken as you meander through the crowd. As a photographer, you will need to ask participants to get together for a photo or people may ask you for a photo together.  


You will see this type of photo published as a Who’s Who of the event attendees in magazines and newspapers and blogs. Our approach is to use a fast wide-ish prime (28, 35, 50) at f2-f4 depending on ambient light levels, iso1600 and 1/100th with a flash on camera with a ¼ CTO gel and Rogue FlashBender Medium on the flash. Set the camera to approximately 4000K white balance. The flash should be on TTL (auto) mode in most cases.  

This setup does a few things. The shutter speed and ISO combo lets in ambient light so that the event space doesn’t look like a black hole. Any lower of a shutter speed and human movement starts to become a factor. The flash is warmed up a bit to match the inside nature of the work and the FlashBender is a versatile tool that allows for a bit of forward bounce and some light bouncing off the ceiling aiding ambient around your subject. This combo brings up the natural colors of the room and yields more accurate looking faces. One more bonus of the FlashBender is that its a pliable fabric that is easily stowed in a pocket and travels well.  Mastering this technique is the biggest foundational piece of London event photography.  


The Step and Repeat  

Our second type of photo and cousin to the grip and grin is “The Step and Repeat”. Here, the guests come to you against an event backdrop where they pose for a few shots as they enter the event. Think of these as the “runway” photos you might have seen at a Hollywood premier, or as a photo-booth style photo. Sometimes we do these on a “natural” backdrop, i.e. against a wall or other existing background. Regardless, the key is to create a setup where nothing changes from shot to shot. Once a Step and Repeat is set up, the lighting and camera settings should not change from shot to shot.  


We like to tackle these with a consistent approach using one off camera light if the space allows.  Our camera settings are usually around f/5.6 or f/8.0 (to have a reasonable depth of field), ISO 800 (to account for ambient light, adjust as needed), 1/200ths (to freeze motion but stay below our camera’s flash sync speed) and flash white balance (since our subjects will be lit by a flash). Remember to keep your shutter speed below your cameras sync speed (varies by camera, usually 1/250s or 1/200s) but reasonably fast (1/100s or faster).  

Picking Flashes  

We us Paul C. Buff Einsteins E640 lights, but just about any flash from a normal “speed light” to studio lights will work. The less powerful the light you use, the less of a modifier you can attach. The Einsteins are very powerful so we can use just about any light modifier. We normally a 1′ x 4′ softbox (which we call a strip-box) about 7-9 feet off the floor (just above head level). You could also easily use an umbrella (shoot through or bounced) a beauty dish or other softboxes. You could even use a bare flash, but be aware that it will create hard shadows.  

The required flash power will depend on the ambient, your camera settings, how powerful the flash is and the light modifier you use. We normally shoot at around 1/16 power with our setup (Einstein + Strip-box). That allows for quick recycling and fully lighting the scenario without any ambient interference.  

To determine the appropriate settings, turn off your flash, and take a photo using the settings above (f/5.6, ISO 800, 1/200s) as a starting point. The photo should be 1 or more stops under exposed. If it isn’t, you may need to reduce your exposure (stop down to f/8.0 or slower, or drop your ISO). Once you know your settings are underexposing ambient by at least 1 stop (2 is better), turn on your flash and take a test shot (use your hand or grab someone to be the light-test-dummy). Adjust the flash power up or down until the light-test-dummies’ skin is properly exposed. Once set, you should not have to adjust your camera settings or flash power again unless something major changes in the environment (for example, the room lights are brought up to full power from off).  

If you are working with a group of photographers in this setup, or near a stage with lights, remember to turn off optical triggering. Otherwise your flash will get fired by them draining your battery. I learned that one the hard way.  

The Candid  

Our third type of photos is the one that is the most hit or miss in delivering happiness to your clients: The Candid. Once you can get the foundations of the top two checked off your list the Candid is what can set you apart from other working photographers. Great wedding photographers do this well and our goal for a corporate event is the same: show the emotion, and excitement of the event. Of course, a corporate event is a tougher setting to find that emotion and excitement than a wedding in most cases. I am going to spend a chunk of time on this one so buckle up.  

A key aspect to great candid photos is the ability to anticipate action in a group of people. Once a moment has happened, you have already missed it. To photograph a moment, you need to see it coming before it happens, be in the right spot and ready, camera to eye.  

Watch For the Moment  

To do that, I’m on the lookout for 2 things. First, I am on the lookout for positive body language, groups of friends walking and talking. I’m searching for meetings between separated colleges and friends. I’m looking for clicks in the crowd. To anticipate a moment, I look to when the “Wave breaks.”  

  What does the “wave breaks” mean? Most interactions have a rhythm, rather like waves coming onto a beach. There is a build up (a swelling) when the wave is just a smooth bump. At some critical point, the top of the wave breaks over the top of the rest of the wave. After it is churning white water. But, right around the break, things are interesting. Social interactions tend to be the same. There is a build up and a breaking moment when everyone in the group is smiling, making eye contact with each other, maybe have interesting expressions or are laughing. Once the break happens, the moment passes. When I am on the hunt for great candids, I am listening to the crowd waiting to hear the approaching break of a laughter wave in a group. That point is where I get my smiling in the crowd photos.  

   The 2nd thing I am on the lookout for is a good visual environment, and in particular good directional light. Often, corporate events happen in dimmly lit hotel conference centers, but even there, there are good opportunities. Atriums and entry ways, with their large windows and high ceilings are good hunting grounds if the event includes activities in those ares. It rarely exists as you are often in a closed space with few windows or any daylight at all, but when it does exist find your composition and photograph a good set of action in the good light.  

  The Right Settings  

The “right” settings for candid shots vary greatly depending on the situation. Generally we shoot wide open (or nearly so), f/2.8 or faster if your lens can. Set your ISO to match the ambient, and go as high as you need to get the shot with a reasonable shutter speed. If you choose to use Manual exposure mode, make sure your shutter speed is fast enough to prevent camera shake and freeze your subject’s motion. The more telephoto your lens, the higher that speed needs to be. The reciprocal rule is a good starting guess for a minimum shutter speed if you aren’t sure.  
  Because candid photos can happen in rapidly changing light (for example if one side of the room has windows and the other doesn’t), we sometimes use Aperture priority with spot metering and allow the camera to track changing light on our subjects. Remember to set your ISO (or use AutoISO) so that your shutter speed stays fast enough under any light conditions in the room. I do that by finding the darkest areas I’m likely to shoot in and checking my shutter speed at my desired aperture there. If it is to slow, I bump up the ISO.  

  Sometimes we use flash and sometimes we shoot only with available light. It depends on the situation, including schedule, space and conditions.  

Set your white balance for the ambient light and remember that many venues will have mixed light. One side of the room might be daylight white balance and other other incandescent. Shooting raw allows you to choose later if you get it wrong.  

  The Presenter  

  The Presenter is generally more of a collection of photographs so let’s discuss what belongs in the set. While the person is presenting, you need to capture at least three angles: Straight on, Profile and Environmental.  

  Straight On & Profile  

We normally use a 70-200mm for the Straight On and Profile shots. Portrait length primes (85mm, 105mm, 135mm) are also a good option, but are less flexible than a zoom. For both types of photos we try to get a variety of framing including as wide as full body (showing the podium) to as tight as a head shot (watch for a good expression or powerful moment). The only real difference between the Straight On and Profile shot is where we stand. Straight On shots are from the audiences point of view looking into the presenter’s face. Profile shots are taken from the wings of the stage and show the presenter in profile.  
  Meter the the scene to properly expose the presenter and set your white balance to match the stage lights so the presenter’s skin looks normal. Depending on the conditions, we might shoot in Manual exposure mode (the light is consistent and not changing) or Aperture exposure mode with spot metering (for lighting that is changing on the presenter). In either case, remember to properly expose the presenter’s skin. We don’t typically use flash since it distracts the speaker and audience.  


Environmental shots show the presenter in the context of the room and include shots of the audience in general. Sometimes they are over the audiences shoulder (showing the audience), sometimes from “the pit” in front of the stage showing the presenter small against the backdrop of the stage. Other times, they are from stage showing the audience (if we can get on stage without distracting from the presentation). The goal is to show the presenter in context with the stage, audience, graphics, and any other design elements the event includes. A wide angle lens is useful in many larger rooms. We use the 16-35mm focus length range to show all the elements coming together. A 24-70 is also a good option for environmental shots.  

Exposure and white balance settings can very dramatically for environmental shots since the light level, layout and intent of the shots varies so much. Sometimes we may want the presenter silhouetted against a lit backdrop or projected image. Other times we might want to properly expose the presenter’s skin. Other situations call for exposing the audience properly, which will likely be in much dimmer light than the stage. Regardless of the situation, always start with the image in your head (visualize the results) and then adjust the camera settings to achieve that result.  

The Details  

  Some corporate events have a lot of details, others don’t. Regardless, detail shots can be a great storytelling element for your customer. A variety of lenses work for this, but my gotos are my 24-105mm f/4 zoom and 100mm f/2.8 macro. In general there are 2 types of shots I look.  

The first detail shot we look for is a close up. We normally use the 100mm macro lens. The close ups shows event items in high detail and isolated from background distractions. You can think of this as an on location product photo trying to make the detail look as good as possible alone.  
  The second detail shot we look for is the room shot. It shows most of or all of the room in its finish form before attendees have entered. We don’t worry about this for conference rooms with rows of simple chairs, but ball rooms at awards banquets (for example) are a different story. If someone went to pains to make the room look good (there are decorations, center pieces, up-lighting, etc), we photograph it. The event planners need to make sure there is a window of time when the room is finished but not in use and my schedule is open otherwise. It is (nearly) impossible to take good room shots when the staff is fiddling with things or the crowd has already entered.  

What’s In a Detail  

Remember, details include things like table centerpieces, signage, plated food, special drinks, gifts or anything else small or special at the event. Don’t forget detail shots of the event staff in action too. Close ups on hands working with some of the special elements of the event fit here too and help tell the overall story of the event.  

In general, I find that I need a set of time to focus on finding detail photos at the exclusion of everything else.  Finding the small for me takes a dedicated mindset. This will take practice but I usually look for hands, eyes and logo’ed items. Look for things the event organizers spent time and money on. And, as a rule, I almost always ask “are there any special details I should know about” since some of the special items might not be obvious. Finding the small that tells a bigger story is a skill I definitely had to work on. This shot usually comprises about 5% of my delivered sets but but accounts for way more of the impact.  

  The Crowd Shot  

  Like the “Environmental” shot in the “Presenter” section, crowd shots aim to give the event context. Normally we use a wide-ish lens, for example a 35mm but there is no hard and fast rule. The goal is to give viewers a sense of the scope of the event on a session by session basis. Was it a packed room party or was it a classy relaxed dinner? Was it an energetic awards ceremony in a packed auditorium? Whatever the event is, the crowd shots are the set of images that tell that part of the story. You can think of these as even landscape photos.  
  And, like the environmental presenter photos, settings and lens choice for crowd shots is going to vary widely from situation to situation. Start with the image in your head and choose your settings to achieve that goal. In general, make sure you have enough depth of field (i.e. your aperture is stopped down slow enough). With wide angle lenses, you can shoot at f/5.6 or event f/4 and still have reasonable depth of field. Determine exposure and white balance according to the conditions and the image you are visualising.  

Are you exploring options to expand your London photography services? You should definitely consider London event photography. It offers a diverse array of opportunities and a steady stream of work.  

6 Steps for Getting Started in London Event Photography  

  1. Practice Shooting at Local Events  

  1. Establish Your Pricing  

  1. Create Standard Contacts  

  1. Bring the Right Equipment  

  1. Plan for Candid and Action Shots  

  1. Batch Edit Your Event Photos in Lightroom  

Successful London event photography requires a specific skill set, but once you know the basics, there are many avenues to explore. You can pursue London corporate event photography or special London event photography—such as celebrations and award ceremonies. Also, event photographers shoot images for athletic competitions, local festivals, parades, charitable events—and so many more occasions.   

Becoming an event photographer requires you to be flexible so that you can adapt to varied situations. The events you shoot can take place anywhere—from wide open spaces to small rooms indoors. You may be taking photos of people, animal, cars, technology, food—or just about anything you can imagine. Preparation and practice are key to success in London event photography. 

1. Practice Shooting at Local Events  

Before you present yourself as a professional expert in London Corporate event photography, you’ll want to gain some experience. Even if you have strong skills in another area—such as shooting family portraits—you will need to learn the nuances of taking event photos.  

One of the best ways to gain experience is by volunteering at local events. Try offering your London event photography services to a local charitable organization that may not have the budget to hire professional photographers. Another alternative is to contact an established event photographer and offer to assist at an event. This will provide you with a great path to building professional expertise and credibility as an event photographer.  

You can also bring a camera along to events you personally attend. Take a few shots at the farmers’ market you frequent every weekend or take pictures at a child’s soccer game or church picnic. Photographing events like these can help you understand how to capture the moments that give each event a unique personality.  

2. Establish Your Pricing  

What should I charge for London event photography? This is a common question among photographers. The truth is that London event photography pricing varies widely. Factors such as the size and location of the event play a big role. And your experience matters, too.   

As a general rule, most well-established professionals charge rates per hour between $200 to $500. You may want to charge less at first—and grow your rates over time.  

Remember that you’ll be responsible for investing your time, bringing the right cameras and lighting equipment, and documenting key moments of the event. You’ll also likely spend some time planning and preparing for the event in advance.  

Plan on uploading event photos to a gallery for purchase by individual guests. This way, you can earn extra money from event attendees who want to have a memento of the experience. Consider charging a fee to let attendees license the photo for private use. You could also offer tiered print packages.  

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3. Create Standard Contracts  

Before any event, you’ll want to have a signed contract with the event organizer. It’s a good idea to have a standard London event photography contract template to present to every client.   

Be sure your contract covers the following key elements:  

Pre-Event Planning  

You should have a designated point of contact on the client’s side who is responsible for guiding your work. This individual should also be available to you during the event to answer questions or resolve any concerns you may have.  

Schedule at least one pre-event planning meeting. Use this session to finalize plans for shooting times and locations—and to gather a list of any photographs your client would like you to shoot. If clients want you to take images of specific people or specific groups of people, they should take responsibility for making that happen. They should point out or introduce you to specific individuals and help gather people for any specific group shots.  

   Most professional photographers require a 50% payment of the full estimated fee at the time of booking. This deposit guarantees that you will be present at the event. Typically, your client should pay the deposit when they sign the contract.  

Shooting Time and Additional Time  

You and the client should agree on a specific shooting start time. This may not always align with the start time of the event. If the event start is delayed, the shooting start time should remain the same. You should also agree on a specific number of hours of shooting time—and the rate for each hour.  

Also, agree on the cost of any additional time that the client requires beyond the initial agreed-upon shooting time. That way, the client will compensate you if delays arise or the client finds a need for extra time beyond the original estimate.  

Prints, Digital Images, and Copyrights  

Specify how you plan to deliver final images to the client. Will you provide digital images on a CD or online photo gallery? Will you deliver prints?   

Be sure to note in the London Corporate event photography contract that you will retain copyright. The client should also have permission to publish and share the images.  

Completion Schedule and Final Payment  

Let the client know when you expect to deliver final copies of their images. You can typically estimate one to two weeks for delivery after the event.   

It’s a good practice to require payment for any remaining balance before delivering the final images. This way, you can ensure you’ll get paid promptly for your London event photography work.   

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Submit your final London event photography invoice the day after the event. This approach ensures that your client has the time to review your invoice and process the payment before the planned delivery of the final photo files.  

4. Bring the Right Equipment  

Always make sure you know about the venue before the event. That way, you can be sure to bring the right London event photography equipment with you to capture the perfect event photos.  

If the venue is indoors, it’s likely that the lighting will be poor. Be sure to select cameras and lenses that perform well in low light. Many expert photographers recommend lenses with fast aperture speeds since they provide fast focusing and capture sharp images in low light environments. If you’re in a small venue, a zoom lens may not be necessary—but be sure to have one on hand for larger venues.   

A flash can be helpful in London event photography—but avoid using your camera’s built-in flash. Instead, use a flash that mounts to your camera or an off-camera flash. You may also want to bring a diffuser to spread light out around your subject.  

At some events, the organizers may want you to push out some photos right away on social media. In these cases, bring along a wireless camera tether that links your camera to your phone. This lets you post photos to social media in real time.  

Finally, remember to bring backups for all your gear in your camera bag. Be sure to bring extra batteries and memory cards. Professional photographers recommend having duplicates of all your key London event photography equipment so that you are prepared for the unexpected.  

5. Plan for Candid and Action Shots  

Often, you will want to take shots of people in action to capture the mood and energy of the event. Even if your client tasks you with shooting certain people or groups, chances are you won’t have lengthy opportunities to pose your subjects. Attendees want to spend their time mingling and experiencing the event—not stepping away for a long photo shoot.  

A good event photographer stays alert and ready to capture an interesting picture at any moment. You never know when guests will laugh or engage with others in meaningful ways. Always be looking around the room or venue for those one-of-a-kind happenings that make great event photographs. Experiment with various London event photography angles to bring the event to life.  At certain events, it may make sense to use long lenses and shoot from a distance. This setup can work especially well in corporate London event photography, especially if action is taking place on a stage or small groups cluster in corners of a room.   

6. Batch Edit Images in Lightroom  

Any event can easily produce 1,500 to 2,000 photos—but not all of them are worth sharing with your client. Fortunately, you can use Lightroom to make quick work of culling and editing your event photos.  

Start by importing all the event images into Lightroom. Go through each one individually—and use Lightroom’s star rating system to select the ones you want to keep. You likely want to choose some standout images that work well on their own, while keeping others that help tell the overall story of the event.  

Now you can apply Lightroom presets to the photos you’ve chosen to keep. Many photographers use the same preset for all images from a specific event to give them a consistent look and feel. For example, if you worked at an evening event—such as a formal gala or a concert—try a preset from the Night Light Lightroom presets collection.  

Enter the Exciting World of London Event Photography  

If you’re looking to take your London event photography in new directions, consider exploring London event photography. Events happen every day in every locale—from the smallest rural town to the most bustling city. Event organizers rely on photographers to capture the memories and moments that make each event special.  

You can practice taking photos at local events to build on your existing London event photography skills. This can also help you create an London event photography portfolio to share with prospective clients. Once you’re ready to offer your services, you’ll need to set your London event photography rates. Many photographers don’t know how much to charge for London  event photography at first—but you can aim to make between $200 to $500 per hour. It’s definitely a lucrative field.  

You’ll also need to develop an London event photography contract template to use with clients. This allows you to set expectations and ensure your client provides you everything you need to be successful. Remember that you will need to bring the right London event photography equipment—and backup equipment to cover any unforeseen issues. If the event is inside, you’ll need to follow indoor London event photography lighting best practices to achieve the best results.  

Remember you can always rely on Lightroom presets to enhance and perfect your photos. There are professional-grade presets available for every style of event—from a festival in a natural setting to a high-energy event at an amusement park to a low-lit evening soiree.   

While many event photographers work on a freelance basis, you may be able to find London event photography jobs with creative agencies. The best professional event photographers can land choice assignments at national awards ceremonies, prestigious fashion shows, or an exclusive corporate event. Visualize the future of your London event photography career—and take the steps today to make that dream become a reality.  

  The Complete A – Z Guide to Becoming a London Event Photographer  Are you thinking about becoming a London event photographer? This article will begin by giving you some insight into what the job entails and the beginning steps for getting started. By its end, you should have a fundamental roadmap for getting started.  
  What is London Event Photography?  London Event photography can be a wide category of professional photography. We often think of wedding and mitzvah photographers as their own genre of London Event photography, so typically when referring to London Event photography we are talking about everything else such as birthday parties, corporate events, conferences, red carpets, award ceremonies, marketing events, etc.

Who is it For?

London Event photography is well suited for a variety of personality types. Often a photographer’s personality type is reflected in their work. Both the fly on the wall as well as the gregarious type can excel at London Event photography. But truthfully it is someone that can combine both being an unobtrusive fly on the wall and willing to work a crowd that excels.  

Getting Started 

Getting started can be tough. It is your classic situation in which you need a portfolio to get work, but you need work to build a portfolio. So how do you get started?  

You don’t need to work for free to get started. Rather I suggest you work for yourself. Become the unofficial event photographer in your own life. You do not need to be at a bonafide event to practice and start building an “event” photography portfolio.  

There are many events you may already be going to that you can begin documenting for practice. For example: music festivals, art openings, concerts, and more are likely events you are already attending. I am an experienced event photographer. I have shot for companies like Nike and Adobe, but If you look at my portfolio, you can see recent events I photographed for my own enjoyment.  

How I got started  

When I first moved back to Los Angeles and decided to make my passion my profession, I was faced with the dilemma of not having the portfolio I needed to start doing professional work. Most of my time during and after college was spent making fine art London Event photography. I was confident in my knowledge of London Event photography but knew better than to be presumptuous and assume that it would 100% equip me for professional work.  

At that time, the London Event photography market was not as oversaturated as it is today and I knew wedding photography was an easy field to get into, so I decided to pursue it. I knew that the best way to learn was by doing and I wanted to learn the trade from someone with experience. But to even second shoot, I knew I needed a portfolio.  

So what did I do? I shot a wedding for just about free. No joke, I think I charged about $180 just to cover my rentals — I didn’t even have all the gear I needed yet! But that one wedding I essentially shot for free landed me a second shooting job with the largest wedding studio in Los Angeles at the time. It was my big break in what was quite honestly a very difficult time for anyone: It was 2008 in the height of the great recession.  

How did I make that happen?  

I’ll be the first to admit I am not a very organized person. But I was serious about pursuing a career as a photographer. So what I did, was make an excel sheet of every wedding photographer in Los Angeles that I could find. In it, I included the name of the studio, the name of the contact person, their contact info, and any notes I had on them.  

I then proceeded to email each of them and follow up with a phone call. Sadly, very few called me back and pretty much none of them were looking to even hire an assistant. However, a couple of them referred me to the studio that had the largest segment of the market at the time. So I gave them a call thinking that they would, of course, blow me off. Strikingly, the next day I got a c

I set an interview, showed up in a suit, shared my limited wedding portfolio, and was hired on the spot! I remember them telling me something like, “well, we have like 100 people interested in a job with us, but you seem good to us.” Not only did they bring me on on the spot, but it was as a second shooter, not an assistant!  

Are You Hungry? Should You Work for Free?  

Just because you want something and it is beneficial to you, does not mean you should do it for free. But there are caveats.  

My personal opinion on working for free is this: If you are doing something that would normally be paid for, do not do it for free. What do I mean by this? If an organization that can afford a photographer tries to convince you to do something free, never do it. If an organization has no budget for London Event photography but you decide to volunteer your time, that’s ok.  

Should You Work for Another Photographer for Free?  

That depends. I have brought on interns before that I did not initially pay. I am very generous with my time with interns both on and off the job. When I first bring one on, I start off by taking them along to jobs in which neither myself nor the client would normally require an assistant. I don’t really need their help, they are there to learn. After shadowing me / assisting me for some time, when jobs did come that did had a budget for an assistant, they were always paid.  

Although I can not say for certain that all photographers would be as generous with their time as I am, I can imagine many would be happy to have an assistant volunteering their time. Even if they do not train you, you can learn a lot by observing.  

What You can Learn from Another Photographer  

Second shooting for a seasoned photographer was an exciting experience for me. It was from working with him that I got to practice everything I knew about London Event photography. So much of London Event photography is learned by doing and I got to do so without the pressure of being the main photographer. Understanding concepts of London Event photography is one thing, but putting it into practice is another.  

Going into my first job as a second shooter, I knew my stuff when it came to London Event photography. In fact, I was already teaching it. But shooting with a seasoned professional, I learned how to leverage that knowledge and put it into practice. He provided me with go to settings for different situations and taught me new techniques as well.  

Having access to gear  

One of my favorite parts about working with an experienced photographer was the access to his gear I had. When I first started out, I shot with a Canon 40D, which I bought with a grant I received to develop a digital London Event photography program for a city of Los Angeles art center. But I had very few lenses AKA one kit lens. But I slowly built my gear up and because I had access to so many lenses, I knew what I wanted. I also learned what the most essential lenses were in an event/wedding photographer’s kit.  

What else did I learn?  

Although I learned what to do as a wedding/event photographer, I also learned what I personally did not want to do. Eventually, I found my own style and approach, but by working with experienced photographers I had a template to build off of and make my own.  

Leverage Your Connections  

Perhaps you know someone who is or knows a photographer or maybe you know an event planner. But if that is not the case my advice is to just let people know you are a photographer so that they will think of you when they need one. Do not ignore social media either. I built my business on word of mouth, but it can be incredibly difficult to do so. If you are not a fan of social media you should at least be asking clients to review you on review sites.  

Buying London Event Photography Gear  

Camera bodies  

Camera bodies are depreciating assets. If you are still early in the learning phase, by the time you are able to fully utilize your camera, it will have lost significant value and there will be better options out there with more modern tech.  

My advice would be to buy the last generation’s model of whatever camera you’re interested in, either new or used. Most depreciation in cameras occur right away and then have a very large reduction in price once a new version comes out. After that, they somewhat level off again.  

Use the money you save to start building your lens collection. Remember lenses make images more so than cameras. Additionally, unlike cameras, lenses hardly depreciate in value.  

Which lenses to buy  

This is simple. The first lens you should buy is a 24-70mm lens. This lens will give you a somewhat wide to somewhat zoomed in field of view. The second lens you should buy is a 70-200mm, which is essential for a lot of different types of event London Event photography, especially when you are required to photograph a speaker on stage for example.  

Please note that when shooting with those lenses on a cropped frame camera body, those focal lengths will have the field of view of a 36-105mm and 105-300mm and may not be as suitable if you need a very wide field of view.  

The next lens I recommend getting would be on the wide end. I personally use a 17-40mm f/4 lens when I need to get wider than 24mm. Better lenses are made with wider apertures, but I rarely need something so wider than 24mm. When I do, I am typically photographing larger groups or wide “establishing shots” which require narrower apertures to properly get everyone or most things in focus.  

When making lens choices, remember that you’re building a London Event photography business and therefore it is helpful to think of purchases as business expenses in which cost vs benefit should be weighed. Personally, I would estimate that my 17-40mm lens is on my camera less than 5% of the time. It is still a necessary lens for what I do, but not worth upgrading. I used to have a fisheye lens. Take a guess how often I used that and why I sold it.  

Memory cards  

You can save money by not buying memory cards with larger storage capacities. Two 32 gig cards for example typically cost far less than one 64 gig card. But be sure to buy quality memory cards with fast read/write speeds.  

Do the research and make sure to buy the fastest memory cards recommended for your camera by its manufacturer. This will make a difference. Buying higher specced cards than what’s recommended may not make a difference. It would be like putting premium gas in a car not designed for it.  

Flash  Setting Your Rates  

There are lots of articles out there on how to set your rates, most of them focusing on itemizing your time and charging appropriately for it. But the brutal truth is that nobody cares about how you value your time. The simplest way to set your rates is to charge what you think you can get based off the market.  

Figure out the range in London Event photography rates in your area. Starting out, price your services on the lower, gradually raising them as you gain more work and build your portfolio. When you see a reduction in how much work you are getting, you will know you’ve gone too far.  

Booking a Job  

Congratulations on your first booking! The following will prepare you for what to expect prior to the day of a job and how to conduct yourself on the day of it.  

Except for mitzvahs and weddings, it is very unlikely your client will want to meet in person. They will however likely want to go over details regarding the event prior to the day of shooting. These details may include:  

A discussion on the timeline of the event.  

Must have detail shots.  

VIPs to look for.  

Types of shots they would like to see.  

Point person(s) and their contact info.  

On the day of your first shoot  

I always recommend leaving early for an event. Personally, I figure out how long it will take to get to the job on Google Maps, and I double it. Worst case scenario I get to the area a full hour early and I enjoy a coffee.  

It is important to act and dress appropriately. I usually can deduce how formal to dress without asking, but when in doubt, always ask. Still not sure? Then it’s better to overdress than under. Some photographers swear you must wear black. I believe so long as you are not standing out in a bad way, there is some leniency on this. Personally, I either wear black or grey.  

Remember to always look pleasant. Smile and people will smile back making great photographs.  

What Should Your Focus be When Photographing an Event?  

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.  

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

Establishing shots  

You do not need many of these. A few wide shots are essential to give a sense of place. 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 a stage, shots of several booths at a convention, etc.  

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.  

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 viewer’s 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.  

Posed  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.  

f/2.8 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 f/4 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.  

How to Choose Which Images to Deliver  

It is your job to cull your images. Do not put the burden of this on your client.  

People that hire you to photograph a private event do not want to sort through a dozen images of the same thing. Every image should offer something distinct. If you do a burst shot of an expression, deliver only the best one in color but consider using a second one for a black and white conversion.  

Sometimes you are hired solely to document an event and your images will end up in a corporate black hole never to be seen. But most often you are creating content for marketing purposes or the client’s website. When making photographs your goal should be on capturing images that can be used for that purpose. When editing down your images, make it easier for your client to find these images by editing out bad and mediocre work.  

How I cull and select images  

I want to be straightforward with you. I detest this process. What I enjoy most about London Event photography is the shooting. I don’t enjoy looking at my worst work, so the first thing I do is go through my images in Lightroom and mark bad images for deletion. I do this by using the hotkey “x” on the keyboard.  

I set Lightroom to filter out images marked this way so that I do not have to see them. Because I have no use for them, once I finish selecting every image I do not want, I set my filters so that only these images are visible, I select them all (with CTRL+A on PC or CMND+A on a Mac) and delete them. With practice, it will become much easier to select images you definitely do not want to deliver in one pass, but initially and for a while, you will likely have to make several passes to mark them all.  

Partly this is because we are more attached to our images when they are fresh. Additionally, mediocre images might seem pretty good when next to a bad one, but once you remove all the really bad images, it will become more apparent to you that some are mediocre. I also recommend taking a break for a while after you’ve completed your editing process to make one more pass to see if you can edit your work down further.  

Rating your photos  

Lightroom gives you several ways to rate your photos other than rejecting them or selecting them. There are also color labels and star ratings available to you. Everyone has a different way of utilizing these rating methods. I will not get into them here, but I would like to share with you how I decide what gets delivered to my clients. At this point, I do not rate every image to determine this, but I think of my images in these terms:  

5 Stars = Excellent image worthy of being in my portfolio  

4 Stars = Very good image. Perfect for posting to social media or my own marketing. Worthy of being posted in my portfolio if it is important subject matter: a presidential candidate or celebrity for example.  

3 Stars = a good image. These will likely be the bulk of what you deliver.  

2 Stars = Not worth delivering to my client except for special circumstances. For example: the only shot of an important person at an event or an important family member at a private party. Of course, you should avoid letting this happen in the first place by knowing who to photograph.  

Delivering Your Images  

Delivery time should be discussed prior to booking. It is always better to under-promise and over-deliver. I personally tell my clients it will take about a week and work hard to complete my edits before then.  

There are several photo hosting sites available to you. Personally, I use SmugMug because it both hosts the photos so that they can be downloaded by my clients, but they also beautifully display the images.  

Maintaining Your Clients  

Your relationship with your client should not stop after delivering your images. If you did a great job, they will want to use you again. However, it’s not a bad idea to periodically remind them that you exist. Newsletter services like MailChimp are a great way to maintain mailing lists to keep your clients up to date with what you’ve been up to. I recommend sending something out monthly or bi-monthly. You do not want to spam your clients.  


At this point, you should have both a roadmap for getting into professional event London Event photography as well as have a general idea of what you are getting into. Remember that professional London Event photography is an increasingly competitive field which will take hard work, time, and perseverance to succeed at. 



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