# Venue Photo added for fun: Event Shooting, tips?



## JustJazzie (Nov 15, 2019)

Somehow I have found myself being asked to shoot events lately. I did a "Soul arrival Ceremony" last minuet a week or two ago, and I only got 28 pictures in an hour that I felt comfortable delivering. Though as it was literally a last min "would you please bring your camera!" I am not beating myself up for having a mediocre final set.

Now I have been asked to shoot an event at our local parkour gym this Saturday, (As well as their Christmas Party in December). Its fairly low light, (Inside of an old church) so I am planning to  bring my TTL speed light with soft box, and my 70-300 3.5-5.6. I don't have any wide telephoto's so I will just have to do the best with what I have! I could bring my 50mm and or my 24-105, but I don't want to carry too much equipment as the gym is quite chaotic and I wont be able to keep an eye on my gear. (I can always leave backup gear in my car, just in case) I have a 2 hour shooting window. Should I plan on having 2 cameras ON ME during the event? I will need to get action shots, and group shots. But its a big gym, so I think I can cover group shots with my 70mm.

Lighting is fairly consistent throughout the main gym, so my plan is to get an ambient reading on the average light, adjust my settings to that and then use the flash for fill light. (I have very little practical use with on camera speed lighting, just random tests here and there- I really try to avoid it)

Its not TOO serious, more like "We know you're good with a camera and we need some good images for social media, can you cover us?" I've asked for a shot list, but the only specifics she said is Some action and some group shots!

Anyways, any tips or suggested modifications to my plan would be appreciated!

Thank you for your time.


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## ronlane (Nov 15, 2019)

Jazzie,

I would be more inclined to use the 24-105mm with a speedlight on camera for most of the event. Just aim the flash up at a 45 degree angle and shoot ttl, if possible.

Use the off camera set-up for portraits if you can have a station there. Honestly, it's hard to do both at an event when you are the only person shooting.

Sure the images are going to look flashed because they are flashed but that is acceptable.

Have fun with it and I know they will get good shots. I've been doing a lot of this type of work for some friends the last year. I typically use a 24-70mm and if needed I get out my 70-200mm.

It's nice to have two bodies if you have them but not necessary, if you don't want to carry around gear.


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## JustJazzie (Nov 15, 2019)

Thanks @ronlane! I don't think I am going to set up a portrait station for this one, but I will consider it for the Christmas party! Thanks for reminding me to put my flash at 45, I forgot about that tip! Ive been shooting it straight ahead and am obviously underwhelmed with the results. Would you still leave the soft box on the flash? Or you would do 45 with the bounce card? Ill play with both- but wanted to be clear on your suggestion!

Maybe the 28-105 would be the better option. I am not sure. The 70-300 is faster, and they're is a lot of height, but perhaps my flash wont work that far? I don't really WANT to bring both camera bodies in with me, but perhaps I will for this one- one with each lens and see which ones gets used the most.


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## Derrel (Nov 15, 2019)

I agree with Ron. I would use the 28 to 105 mm zoom lens with a speedlight on camera for the bulk of the indoor shots. If you decide to do some posed photographs, then it would be quite okay to use the softbox. I do not envision a scenario in which using the 70 to 300 as a primary lens would be a great idea.

If you wish to make your photos look better when using an on-camera speedlight you could make yourself a type of homemade Flashbender accessory with white craft store foam. There are quite a few do-it-yourself tutorials and videos to be found on the web. The factory product called the Flashbender is actually quite good, but you can achieve excellent results using a 5 x 7 inch or so piece of white craft foam or even a piece of white cardboard which you tape to the flash.

If you compute the square inches, 5 by 7 inches is 35 square inches, but with a flash head the Fresnel lens is roughly 1.5 by less than 3 inches in width, so you are making the size of the light source much, much larger by using something as simple as a 5 by 7 inch piece of craft store foam.


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## JustJazzie (Nov 15, 2019)

Thanks so much @Derrel! The softbox I have for the speed light is about 5x7, would that behave differently than a homemade flash-bender or the 5x7 bounce card?

I would WAY rather carry around the 28-105 any day- So I am glad to hear this is the better choice!


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## Derrel (Nov 15, 2019)

I think the softbox might be about 1/2 stop to one stop less efficient than a bounce card. it depends upon the interior of the soft box and also upon the front diffusion panel.

When you said softbox I immediately thought of a 36 by 48 inch Chimera medium,or a 24 by 24 in Chinese softbox and not a portable one.

If you are still using the Nikon Df you have a camera that does pretty well at 1600 ISO, and with flash to help boost the Shadows, I think you would be fine using ISO 800 or 1000 or even 1250 or 1600 if you need the added reach. You'll do fine! Shoot in raw and you can recover all sorts of oopsies!


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## JustJazzie (Nov 15, 2019)

Ill be taking the d750 for this one, since it focuses better in low light.

TBH, I am comfortable pushing my ISO into the 8,000+ range if I need to. I don't LOVE noise, but it doesn't bother me if it helps me create the lighting pattern I like. and yes, RAW has saved my butt SOOO many times. 

Thanks again @Derrel!


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## tirediron (Nov 15, 2019)

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


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## Derrel (Nov 15, 2019)

You should be perfectly fine. You are a much more skilled shooter than you typically give yourself credit for, at least here on the photo forum. Over the past few years I have seen your first efforts in a number of different areas, and each time you have done amazingly well. I can tell you are a conscientious worker , and you hold yourself to a high standard. Just  keep telling yourself , "I got this, I got this."

You got this.


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## Derrel (Nov 15, 2019)

tirediron said:


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



That sounds decidedly 1980s. LOL. You forgot to add use a Quantum Turbo battery strapped to your belt. LOL. With today's newer wireless TTL flash units, one no longer needs the cable to connect the flash to the camera. However I still maintain two, one a Ronald Reagan-era Nikon SC-17 and a new Barack Obama era Nikon SC-28. Despite the old SC-17 cable being 30-some years old it is still in good condition, however the much newer Nikon SC-28 is already losing its coating on the pigtail portion of the cable.


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## tirediron (Nov 15, 2019)

Derrel said:


> That sounds decidedly 1980s. LOL. You forgot to add use a Quantum Turbo battery strapped to your belt. LOL. .


It is, but so am I!  

If you can go wireless, great; same basic idea though; get the light off the camera and off-axis.  I shoot dozens of events this way.


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## Derrel (Nov 15, 2019)

Shooting this way has never been easier, now that we have autofocusing lenses when shooting this way back in the 80s you had to hold the Flash in your left hand and use your left hand to focus, unless you shot everything at a pre-focused distance, such as five feet,or seven feet ,or 10 feet or whatever distance you had in mind for the group and for the focal length. By holding the flash up at arm's length you really do get the Shadows down and to the right.

One thing to keep in mind if the light really is poor that if you set the camera to AF Single, and do not have the focus assist system disabled in the menu oh, you will get a nice Focus assist beam from either the flash itself or from the camera body depending on the camera. It has been my experience that this is a really good way to shoot very dim light flash pictures allowing the focus assist system to send out that momentary red light or white light, depending of course upon the camera and Flash in use.


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## JustJazzie (Nov 15, 2019)

@tirediron Thank you! OMG, why did I not think of this? Seriously. So simple. I was like- "I COULD make my kid follow me around with a light stand, but this really isn't THAT serious" I have my flash triggers ready to go with new batteries. I guess I forgot that even just a little bit off center (cue flash bracket commercials) would improve the lighting quite a bit. I will definitely try and shoot two handed.

@Derrel - thank you for your kind words and pep talk! I do tend to be a bit of a perfectionist- which is why I think I took such a long break from constant shooting- besides life excuses, It felt like my own standards were simply unattainable, so I just let go, and settled for cell phone shots when I wanted one. (My iPhone really does do a decent job for casual shots) 

Anyways, to get my flash off camera and try and shoot 2 handed, I need to play with my camera settings and take off my sub-button focus, so I will check my autofocus assist while I am menu-diving! Great tip, thank you!


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## ronlane (Nov 16, 2019)

Sorry Jazzie. I have been out shooting half the night after I answered this. You can do either with the 5x7 soft box. I have done it both ways. As Derrel said, the soft box will chew up a little light but not too much. It gives you a little bigger light source but either way you go, still point the flash up at 45, that will help.

Hope it goes well.


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## JustJazzie (Nov 16, 2019)

No worries @ronlane! You responded in plenty of time, thank you for remembering me. I feel pretty confidant about going in with all these refreshers. Well about the shooting part! I need to work on the walking up to strangers and asking them to group pose for me! LOL. Hopefully its mostly kids!


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## SquarePeg (Nov 16, 2019)

tirediron said:


> 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.


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## SquarePeg (Nov 16, 2019)

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


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## JustJazzie (Nov 16, 2019)

@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!


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## vintagesnaps (Nov 16, 2019)

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.


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## JustJazzie (Nov 16, 2019)

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.


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## JustJazzie (Nov 16, 2019)

@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.


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## Derrel (Nov 16, 2019)

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...


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## JustJazzie (Nov 17, 2019)

@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.


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## Bytesmiths (Nov 19, 2019)

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!


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