Most photographers treat event photography as a side gig: turn up, shoot what’s in front of you, send a gallery, and hope the client books again. The photographers who become the go-to event photographer in their city work differently. They quote faster, shape the room before the first speaker steps up, and deliver images that make a client’s event look as important as it felt.
I’ve been photographing events for 25 years. I started with weddings, then spent ten years as a Department of Defence photographer covering military award ceremonies, international conferences and VIP events at the Governor-General’s residence, where protocol is strict and there are no second chances. Today I specialise in corporate event photography for businesses and government clients in Canberra.
Here’s the exact process I use, from the first inquiry to the final gallery, so you can raise your standard and your rates.
Start With a Great Event Photography Brief
A good event starts with a good brief from your client.
Sometimes an inquiry lands in your inbox and it’s three lines long. Date, time, what the event is. That’s fine. You can quote from that. But if you want more to work with, just reply and ask. I’ll usually say something like:
“I’m available for the date you’ve requested. Can you tell me a little more about your event so I can quote appropriately?”
Some clients will send you the full run sheet straight away. Others won’t have a schedule until the week of the event. Either way, don’t sit on your quote waiting for the perfect brief. Quote on what you’ve got.
And quote quickly. When a corporate client or government department needs a photographer, they’re usually asking for three quotes. Same with the AV team, the florist and the caterer. The photographer who comes back fast, clear and professional is already ahead before anyone looks at the price.
How to Quote for Event Photography
My event quoting is simple. I offer a half day or a full day, and each rate is worked out from two things: my hourly shooting rate and my hourly post-production rate.
That second part matters. You’re not just being paid for the hours you’re standing in the room. You’re being paid for the hours you’ll spend culling and editing afterwards, and if you leave that out, you’re working for free.
On top of the base rate, I charge extra for:
- Next-day or fast turnaround
- Overtime, charged at my normal hourly rate if the event runs over
- Retouching beyond basic editing (basic editing is always included)
Here’s something I don’t do. I don’t tell clients how many images they’ll get. There’s no “50 to 100 images” anywhere in my quotes. My quote simply says unlimited images are covered and the best images from the event will be delivered.
Once you put a number on it, clients start counting. When you don’t put a number to it, they trust your judgement, and that’s exactly where you want to be. Trusted to deliver. Honestly I’ve never been asked how many images they’ll reveive once I had my quote structured like this.
Should you put your event photography prices on your website? For business events, quoting is standard. Nobody expects the AV company to have a price list, and photography is no different. If you’d like to filter out tyre-kickers, you could list a starting point, like a two-hour event package from a set price, and have a contact form for custom quotes.
Arrive Early and Take Charge of the Room
I arrive at every event at least 15 to 20 minutes early. Not to set up. Event gear takes about two minutes to get ready.
I’m there early to meet my contact person, have a little run around the venue, and work out where my best angles are going to be. Then I check the stage.
At an awards night, for example, I’ll make sure the event banner, the one with the company logo and the name of the event, is sitting right where I’ll be shooting from, so it lands in the background of every speaker shot. If there’s a big flower arrangement blocking the lectern, it gets moved. If the light on the speaker is looking a bit dim, I’ll ask, “Are you going to brighten that up, or is that the best it can do?”
You might feel a bit shy doing this. I did too, once. These days I just walk in and tell them what I need, and nobody minds. Your client wants the best photos from their event. If that means moving a banner or turning up a light, they’re happy to do it. Just let them know why.
This is you leading the shoot. And leading the shoot is part of what they’re paying you for.
The Best Lenses and Gear for Event Photography
People are always surprised by how little I take. Here’s my kit for almost every corporate event:
- 24–70mm f/2.8. My everyday lens for candids, details and networking. Get into the corner of the room and it’s wide enough to show the whole space, how many people turned up and how big the event was.
- 70–200mm f/2.8. This is the one that makes my speaker and award shots.
- Two speedlights. I use Nikon SB-910s. They’re powerful and they recycle fast.
- A good stash of rechargeable AA batteries. Reliable batteries are not something you want to skimp on halfway through a keynote.
I’ll only pack my 17–35mm wide angle if I know I’m really going to need it. Most of the time, the 24–70 does the job. To look at my full studio
How to Photograph Speakers at an Event
When I critique photographers’ event portfolios, this is the number one thing I see. They’re standing way too far back from the speaker, and the shot ends up flat and ordinary.
Here’s how I do it. I use the 70–200mm, zoomed in to around 135mm or right out to 200mm depending on the room. I get close and crop roughly at the top of the lectern, in a nice tight horizontal frame. That way you catch their hands moving and all the different expressions as they talk. Put them on the rule of thirds, wait for the expression, and click.
When you nail that shot, it’s mint. Clients love it.
The catch? People look pretty awkward when you freeze them mid-sentence. Eyes half shut, mouth in a funny shape. So you have to review as you go.
Walk up to the front of the room, nice and quietly. Yes, in front of everyone. You’re not going to be there forever. Zoom in, snap, snap, snap, about 10 frames. Then slip off to the side and check them. Got a few good ones? Great. If not, head back in when the timing’s right and do another round.
If you don’t want to keep walking back and forth, stay at the front, crouch down to check your images, stand up for another round, then move out of the way completely once you’ve got what you need.
Should you use flash for speaker shots? Yes, absolutely. Flash gives you cleaner skin tones and a cleaner image, full stop. Shoot most of your frames with it. But if you’ve got a fast f/2.8 lens and a camera that handles low light well, crank up the ISO and grab some without flash too. When it comes to the cull, you can deliver both, or just whichever looks best.
How to Photograph Award Presentations
For presentations and award ceremonies, I shoot from just off the stage at floor level, with the 24–70mm or the 70–200mm depending on how close I can get.
Every handshake moment gets shot as a tight, horizontal, half-body frame. Full-length vertical shots of award presentations tend to look messy. You’re further away, there’s a lot of stage and legs, and you can’t read the award. Go in closer, go horizontal, and suddenly the people, the moment and the award all work together.
Candid, Networking and Group Photos at Events
For candids, be a fly on the wall. I’m usually on the 24–70, moving around the room catching people mingling and chatting, the food, the little details that make the event feel like the event.
Then don’t be afraid to throw the 70–200 on and zoom right in. Two people laughing. Someone mid-story. A little cluster of the crowd. Those tight, expressive moments add so much to an event gallery.
Group photos are the other big gap I see when I’m critiquing event portfolios. Photographers aren’t doing enough of them, because they’re scared to ask. I know that feeling. But you have to ask.
Here’s how. Walk up to the group. Even if they’re all chatting and drinking and having a great time, tap one person gently on the shoulder and say, “Excuse me, guys, do you mind if I grab a group photo of you all for the event?” Then show them where to stand, and where you’ll be.
And if it looks a bit off once they’re lined up (say one very tall guy is throwing the whole thing out), rearrange them. “Do you mind just swapping with this lady here?” Done.
It’s not about shooting what’s in front of you. It’s about crafting the image you need.
How to Get Event Photography Clients
Now let’s talk about getting the work in the first place.
Build a dedicated event photography page on your website. Call it something like “Event Photography Canberra,” with your own city in there. Put your best event work on it, a contact form, and a starting package if you’d like one. This one page can do a lot of heavy lifting.
Let Google find you. Most of my event work comes from Google and repeat clients. I’ve had event photography as its own service on my website for years, and because I set up my SEO properly from the start, Google has been sending me event leads ever since. That’s what being Built to Be Found looks like. Leads While You Sleep, literally.
Look after your repeat clients. Corporates run events every year. Give them a great experience and you’ll be their photographer for the next one, and the one after that.
Get known in your business community. Networking events, relationships with agencies, companies and government departments, and a mention on LinkedIn that event photography is one of your services. It all adds up.
What about social media? For me, not really. My event clients aren’t scrolling Instagram looking for a photographer. That’s just not where my people are. My website and Google do that job for me. Work out where your people are and show up there.
Event Photography FAQs
- How much should I charge for event photography?
Work out your half-day and full-day rates from your hourly shooting rate plus your hourly post-production rate. Then charge separately for fast turnaround, overtime and any retouching beyond basic editing. - How many photos should I deliver from an event?
I don’t promise a number. I deliver the best images from the time I was at the event. It keeps the focus on quality and on your judgement as the professional. - What are the best lenses for event photography?
A 24–70mm f/2.8 and a 70–200mm f/2.8 will cover pretty much everything, from wide shots of the whole room to tight, expressive speaker shots. - Should I use flash for event photography?
Yes, for most of your shots. It gives you cleaner skin tones and cleaner images. Grab some high-ISO frames without flash too, so you’ve got options in the edit. - How do I get corporate event photography clients?
Create an event photography page on your website with your city in the title, set up your SEO so Google can find it, look after your repeat clients, and let your business network and LinkedIn know it’s a service you offer.
Ready to Build a Photography Business That Books Itself?
Being a great event photographer is a skill. Having a business that keeps great clients coming to you is a system. It’s pricing that actually pays you, a website that brings in leads, and the confidence to walk into any room and lead the shoot.
That’s what we work on together inside the Photographers Only Mentorship: group business coaching, accountability, and a community of photographers who are serious about their businesses. Come take a look here
Want to hear the full conversation? Listen to this episode of The Photo Diaries podcast live from 1st October 2026.
