Venue Photo added for fun: Event Shooting, tips?

[SquarePeg]

Use a TTL sync cable and bare-tube it. Speedlight in one hand, camera in the other.

I did this successfully a couple of times although I did have a diffuser not just my bare flash. I’ve tried a few but I like the f stoppers flash disc the best - well actually I have a cheaper version of the flash disc that I bought on eBay.

As long as your gears not too heavy to shoot one handed it works great.

 

[SquarePeg]

Hey be careful with the flash not blinding anyone who’s in the middle of their routine or whatever they call it. L

 

[JustJazzie]

@SquarePeg - An important safety reminder for sure! Thank you for pointing that out.

So, I realized my wireless triggers aren't TTL (I knew this but lapsed on the implications) So perhaps I will just use it as strategic On camera fill and then set up a "general distance reading" for when I start group shots and get it off axis for that.

EDIT: I hacked the lack of TTL cable. Im just going to bring my mini reflector and bounce the flash off that. Well see how it goes!

Thanks again everyone!

 

[vintagesnaps]

Having done lots of events and sports I've always found I'd be on the move the whole time (so it would be impractical to carry around equipment). I've usually carried a small camera bag (about the size of a crossbody purse) and of course my camera. I don't think I could/would want to babysit equipment when I need to watch what's going on to not miss anything and make sure I got the shots I wanted/needed.

I've usually done sports and events where it's not possible to use a flash at floor/event level, so I've done it using existing light. I've known photographers in a pinch to use a business card or cut a piece of cardstock to tape on the flash as a diffuser to avoid harsh light/shadows.

This may be more for future reference but it's good to go early, look up at the ceiling/around the room and notice the lighting. I usually try to face toward the middle of the room, and avoid dark corners. Figure out good vantage points, notice what the background will look like. Find out when and where specific things will happen so you know where to be and when. There are also many spontaneous things that happen and it's necessary to be aware of what's going on and to be able to work quickly.

I learned to go for a 'clean' composition, and keep visual clutter out of the frame. The length lenses being discussed sound like about what I'd use (usually 50mm, 135mm, maybe a 90mm, it depends on the size of the venue/event).

Even if this is unpaid/uncompensated work (in my experience in local sports people are often 'paid' in free tickets) it would be best to have a contract or something in writing to specify usage, amount of time, etc. (such as for website/social media use, typically for one year with usage extended later if needed). Once you give someone photos they're out of your hands and you have no control over what happens, especially if there's nothing in writing. If the photos are for social media use only then photos provided would be sized appropriately for that purpose.

Just remember to breathe! take some deep breaths... I found it took a lot of practice to get good at it but it's always been a lot of fun.

 

[JustJazzie]

The event went..Okay I guess. I shot for 2 hours, could NOT use the bounce method I planned, and was "stuck" using on camera flash. I felt in over my head with this one, the amount of chaos was overwhelming, and the venue was WAY darker than I thought. There was enough ambient light that I still had ghosting after the flash due to the sync speed, but using JUST flash gave do harsh of a look, and I swear my flash was not triggering properly every time. It looks like I have about 60 images I am mostly happy to deliver. There were 90 (including the 60) or so that I felt unashamed about. I cant tell anymore if my expectations exceeded my ability level or if I was simply working within the constraints that I have. I will share some when I get around to finishing the editing.

 

[JustJazzie]

@vintagesnaps Thank you for your thoughts! they didn't come in time for this shoot, if I am still brave enough to shoot the christmas party when this is through, (and they still want me to) I will keep them handy for next time.

 

[Derrel]

It looks kind of like the place had what might be referred to as A-frame Construction, which would make ceiling bounce quite difficult or impossible in many situations.

I think in the future you should look into the Flashbender, or an equivalent. When you do these kinds of things you have to accept the way the pictures look. If you need direct flash, then you need to use a flash that is connected to the camera either in the hot shoe, or with a TTL cable, or if you have a modern flash,you can use wireless TTL.

Sometimes you just have to do what is needed, unless you want to make a much bigger production out of it, and have an assistant traipse along beside you with your flash on a pole...

 

[JustJazzie]

@Derrel Thank you for pointing out that " When you do these kinds of things you have to accept the way the pictures look." I went ahead and went on their face book to compare their current marketing images, to what I took- and that boosted my confidence. I think that its just my gravitation to back-lit dreamy, staged portraiture that makes shooting in a chaotic gym outside my comfort zone. Oh. I think maybe a 2.8 zoom would have helped me too, but alas- that is NOT in the budget right now. I did the best with the equipment and knowledge that I have. If they wanted higher quality than that- they probably should have asked to see a portfolio of my event shoots first, which they did not.

I will definitely look into other flash modifiers, I did have my 5x7 soft box on there so its not TERRIBLE on camera flash, but not great. I don't know if I was beyond the limitations on my Newer flash or if I was using it wrong, but some images still needed a significant boost in post.

 

[Bytesmiths]

Watch the hands.

A lot of people get flustered during events by trying to catch best moments by watching people's faces. That takes a lot of concentration — and generates a lot of "near misses." But people generally telegraph their facial reactions with their hands.

Then, catch the hands at the "peak of action," so they don't blur. That often corresponds with the best facial reactions, and you can shoot at a lower ISO or with available light.

When I'm doing an event, I look at every thing except the face! Is a lamp growing out of the head? Is there a photo-bomber in the shot? Does the background clash with the subject's clothing? Get those things right — and watch the hands — and the faces will take care of themselves!