Los Angeles event photographer for brands, agencies & private clients

$300 an hour, two-hour minimum. A full day — up to ten hours — is $2,400 flat; past ten hours, overtime is $300 an hour in half-hour increments, stated up front. Multi-day programs run on the same day rate, quoted as one number for the whole program. Full breakdown in my guide to what an event photographer costs in LA.

Same rate as any other day: $2,400 for up to ten hours, no multi-day discount. A three-day program is $7,200, quoted as one number for the whole thing. A second photographer for concurrent rooms is $275 an hour, capped at $2,000 for a full day — so a three-day program with a second camera on every day is $13,200. Past ten hours in a day, overtime is $300 an hour in half-hour increments, stated up front.

Conferences and keynotes, breakout tracks, trade shows and expos, awards nights, executive headshot stations, sponsor activations, and the receptions around all of it. I shoot with the afterlife in mind — press, recap decks, sponsor and stakeholder reports, internal comms — so the gallery is still useful the week after, not just the night of.

They're the biggest part of my work. Three-, four- and five-day programs at the Los Angeles Convention Center, Anaheim, and Long Beach, plus hotel ballrooms across the city. I work from the run of show and know what the comms team needs before they ask.

Yes — that's a staffing question, not a scheduling one. When a program runs parallel tracks, I bring in a second or third photographer so no room goes uncovered. It all comes back as one gallery with one edit, not three different looks stitched together.

Me, on every job I book. When a program needs more than one camera, I bring in one of the four associate photographers who work with me regularly. You get their names and their work before the event, not a stranger on the day.

Yes. Booth coverage, sponsor deliverables, floor atmosphere, and the demos and conversations that actually justify the booth spend. Expo floors are mixed lighting and constant movement, which is most of what makes them hard.

Regularly. Augmented World Expo, Snap's Lens Fest, product days at Snapchat HQ, and IPC APEX EXPO on the manufacturing side. Tech events run differently: dark demo areas, screens and headsets that blow out if you expose for the room, and a lot of the actual story happening at a demo table instead of on stage. I shoot the demos and the hallway conversations, not just the keynote.

Yes, and they're their own problem: a dark room, a brightly lit stage, and LED walls that blow out if you expose for the audience. I expose for the stage, stay off the aisle, and get the handshake and the plaque without a flash going off mid-speech.

Please send it. Mark the must-haves — the CEO's keynote, the sponsor photo, the award moment — and I'll build around them. Most missed shots are schedule problems, not camera problems.

Full gallery within 48 hours. If you need a few hero shots the same night — press or social that can't wait — I pull selects and send them day-of. Really big multi-day events run a bit longer for the full set, usually 5 to 7 days. More in my guide on delivery turnaround.

Two cards in the camera, both writing at once, so a card failure isn't a lost event. Everything comes off to redundant storage the same night, with an off-site copy before the originals get touched.

You get a Dropbox link to high-res edited JPGs — download, share, drop them into a deck. Full usage rights come with it, and I shoot with the afterlife of the photos in mind: your website, brochures and sales collateral, recap decks, sponsor and stakeholder reports, internal comms and documentation, press, and social. I keep the copyright and don't hand over RAWs, but for whatever the photos need to do afterward — web, print, press, social, internal, sponsor — you're covered, with no per-use fees. See what the contract covers.

Depends on the event — roughly 60 to 200 edited images per hour. A packed conference with a long shot list lands high; a quiet rooftop mingle lands low. I don't hard-cap it. If a frame's strong and useful, it's in. More on how the count works.

Yep. I carry $2 million in general liability through Hiscox, and I can send a certificate of insurance naming your venue as additional insured when your venue or production requires one. Just tell me who to name and by when. No sweat.

Mostly documentary — stay out of the way, catch what's happening, keep moving. I step in when the shot needs it: a group that needs arranging, an executive portrait, a receiving line that has to move in ten seconds. Invisible most of the night, directive when it saves you time.

LA County and Ventura County, no travel charge. Past that — Orange County, San Diego, out of state — travel gets added to the quote: gas if I'm driving, flights if I'm not. Either way it's stated up front, not a surprise line item afterward.

Corporate conferences and annual meetings are the bulk of it — keynotes, breakouts, expo floors, awards nights, executive portraits and headshot stations.A large share is brand and creator work: activations and pop-ups, product, store and property launches, and influencer programs where a brand flies thirty or forty creators in for a multi-day run that's part activation, part keynote, part awards show. That's a stage, a step-and-repeat and a content moment in the same afternoon, and the pictures are usually wanted before anyone flies home.Then galas and nonprofit benefits, red carpets and premieres, conventions and trade shows, university and policy events, sports and sponsor activations, and private parties.Sixteen years in, I've shot most kinds of rooms. Corporate event photography is still the largest share; there's also event video and private parties, with more detail on the corporate coverage page.