Next year's booth budget gets approved on this year's photos.
Booth coverage, keynotes and floor traffic, a photographer and a videographer working the stand and the room, so you leave with proof the spend worked, not four blurry phone pictures.
The booth moment happens once.
The demo that finally lands, the partner who walks up unannounced, your exec mid-pitch to someone who matters. None of it repeats, and none of it waits for a photographer who is across the hall shooting the keynote.
Your stand has to be identifiable.
A photograph of an anonymous crowd proves nothing. We shoot so the stand, the signage and the product are legible in frame, because these images end up in a recap deck where somebody has to see whose booth it was.
A busy stand is the whole argument.
Traffic, queues, lanyards, real conversations. When you go back for budget, frames of a stand with people at it do more work than any number you can put on a slide. That is what this coverage is for.
Cameras booked by
Expo floors, stands and the stage behind them.
Booth traffic and demos, keynotes and panels, the networking hours where the actual business happens, and the moment somebody wins something. Shot across cybersecurity conferences, healthcare summits, startup pitch stages and enterprise expo floors.
See the Conventions gallery
Booth number, hall hours, and who is speaking when.
- 01
Send the schedule and the shot list
Your stand number, when the hall is open, which demos and keynotes are yours, and which executives and partners have to appear in the set. On a show floor a name and a face matter more than a mood board.
- 02
Both cameras, stand and floor
The photographer anchored to the stand so it is never uncovered during hall hours; the videographer on the stage, the panels and the wider floor. That split is why the standard booking is both, and why one person on a show floor is really a choice about what you are willing to miss.
- 03
Selects each evening, full set after
The complete set in three business days, and the one-minute cut on its own schedule. Where the brief needs a daily recap or a post while the hall is still open, rush delivery is published at 24 and 12 hours, so a same-night batch is a fee you can see rather than a favor.
A photographer, a videographer, and the cut.
- A day on the show floor$4,949 8 hours, both cameras
The standard booking for a show day: a photographer on the stand through hall hours, a videographer on the stage and floor alongside, and a social-ready one-minute edit included rather than quoted afterward. Eight hours is the example, coverage is quoted to your actual hall hours.
- Both cameras, by the hour$599 per hour
The rate the day is built from, for a half day or a hall that opens late. Extensions are billed in fifteen-minute steps from the first minute, which on a show floor matters more than anywhere else.
- The cut$149 per edited minute
Priced by the finished minute. All raw footage is included in the shooting rate, so a longer recap film is a decision you make rather than a surprise on the invoice.
- One still photographer instead$249 per hour
This rate is one still photographer and no video at all, so be clear that is what you are choosing. On top of that, while that single camera is shooting your keynote your stand is not being photographed. On a show floor that trade usually gets made badly in the moment, and fewer hours with both people beats more hours with one.
- Rush delivery$149 flat
Same-day and next-day turnaround is a published upgrade rather than a favor: a batch back the same night for a daily recap while the hall is still open. A 24-hour tier is priced lower, and both are on the rates page. Ask at booking rather than on the day, because a fast turnaround is a staffing decision made in advance.
Multi-day shows are quoted as consecutive days, so you can take the days with real traffic and skip the setup day. Your own decks, site and channels are covered in perpetuity; licensing onward is priced separately.
See the full ratesWhat exhibitors ask.
Which show?
The dates, the hall, your stand number and who is speaking. That is enough to come back with a crew and a number.
Card on file at booking, charged when we wrap. Bookings at or above the deposit threshold take 50% up front.