Event photography is often misunderstood.
Some photographers see it as repetitive work, while others view it as a stepping stone to more "creative" photography. In reality, building a successful high-volume photography business requires exceptional organization, efficient workflows, strong customer service, and the ability to consistently deliver quality images under pressure.
In this episode of TWiP (This Week in Photo) Talks, host Frederick Van Johnson sits down with Snapizzi founder Randy dela Fuente to discuss the realities of high-volume photography. Their conversation explores the business behind photographing thousands of people, overcoming common misconceptions, building scalable systems, and how workflow automation helps photographers spend less time on repetitive tasks and more time growing their businesses.
Although this interview was originally recorded several years ago, the business principles remain just as relevant today. Whether you're photographing schools, sports, corporate events, or other high-volume assignments, the lessons shared here continue to help photographers build more efficient and profitable businesses.
Editor's Note:
This interview was originally published as Episode 27 of TWiP Talks.We've lightly edited the transcript for readability and added editor's notes, related resources, and updated context throughout the interview to connect these timeless business principles with today's photography workflows.
Why high-volume photography is about business systems—not just taking more photographs
How event photography can become a profitable and scalable part of your photography business
Why efficient workflows create a better customer experience
How Snapizzi automates subject matching and gallery organization
The difference between in-sequence matching and in-photo matching
Why customer service is one of the greatest competitive advantages in photography
How better workflows save time, reduce repetitive work, and improve profitability
Why image delivery speed can have a direct impact on photography sales
How organization and standardized processes help photographers scale successfully
Why continuous improvement is essential for building a stronger photography business
High-volume photography isn't about photographing more people—it's about building better systems.
Event Photography and Building a High-Volume Photography Business
Originally published on TWiP Talks (This Week in Photo) Podcast
Frederick:
When people hear high-volume photography, they usually think high revenue.
It's easy to look at a large event and start doing the math.
You see hundreds of athletes or students and think, "Wow...they must be making a fortune."
What's the reality? What does the business actually look like?
Randy:
That's definitely true.
Even today, whenever I attend a sporting event or any large gathering, I automatically start doing the math in my head.
I find myself wondering how much money is changing hands.
When I first opened my portrait studio, my mentor encouraged me to get into high-volume photography because it could help support the studio during slower seasons.
For about five years, I operated both businesses.
I photographed portraits and weddings under one company while running my event photography business under another.
One of the biggest advantages was seasonality.
January is traditionally one of the slowest months for portrait photographers.
For us, it became one of our busiest months because youth basketball was in full swing.
We were photographing hundreds of teams and thousands of athletes during what was normally a slow period for most studios.
Eventually I realized something important.
Even when there were no portrait appointments, I still had to keep the studio open every day.
At the same time, most of my revenue was coming from the work we were doing on location.
That's when I decided to close the portrait studio and focus entirely on high-volume photography.
Over time, we became one of the largest event photography companies in Washington State.
One lesson has always stayed with me.
It's much easier to get one thousand people to give you one dollar than it is to convince one person to give you one thousand dollars.
That completely changed the way I looked at building a photography business.
Frederick:
That's such a powerful way to think about it.
It's easier to get one thousand people to give you a dollar than one person to give you one thousand.
I love that.
Randy:
It doesn't mean high-volume photography is easy.
It's extremely competitive.
The barrier to becoming a professional photographer is much lower today than it was years ago.
When I started, every exposure mattered because mistakes were expensive.
You couldn't immediately review your images or fix them later.
You had to understand lighting and exposure before pressing the shutter.
Today's technology has made photography much more accessible, but building a successful business still requires organization, efficiency, and consistently delivering a great customer experience.
Editor's Note:
High-volume photography isn't simply about photographing more people. It's about building efficient systems that allow photographers to serve more customers without sacrificing quality or customer experience. As workflows improve, photographers gain both time and profitability.Related Resources
Frederick:
Let's talk a little more about Snapizzi.
You mentioned that you actually didn't start the company—you took it over and gave it new life.
How did that happen?
Randy:
I guess you could say I'm a re-founder.
Around 2009 or 2010, I was actually trying to build something similar for my own photography company.
We were working with our photo lab to develop a barcode system that would help automate our workflow.
That's when I discovered Snapizzi.
The first time I used it, I immediately realized how valuable it was.
It solved a problem I'd been trying to solve for years.
Then, about a year later, I found out the company was shutting down.
Needless to say, I panicked.
Snapizzi had become such an important part of my workflow that I couldn't imagine going back to doing everything manually.
Fortunately, I was able to negotiate an agreement that allowed me to continue using the software.
At first, my only goal was to keep using it in my own photography business.
I wasn't thinking about running a software company.
After about a year, though, I started thinking about all the photographers who could benefit from it the same way I had.
I remembered the feeling I had the first time I used Snapizzi and realized there were probably thousands of photographers who would have that same experience.
That's really what motivated me.
I enjoy building software, but what I enjoy even more is helping photographers build better businesses.
When photographers tell me we've saved them hours of work or completely changed the way they manage their workflow, that's the most rewarding part.
Frederick:
You're really taking away one of the biggest pain points photographers deal with.
Randy:
Exactly.
I've always said Snapizzi isn't a vitamin.
It's a painkiller.
A vitamin might make your business a little healthier over time.
A painkiller solves a problem you already know you have.
One photographer told me she was spending more than 260 hours managing the administrative work for a single school.
Once she automated that workflow, it completely changed how she ran her business.
That's what excites me.
Helping photographers spend less time on repetitive work and more time doing what they actually enjoy.
Editor's Note:
Many photographers assume workflow automation is about replacing existing software. In reality, Snapizzi was designed to eliminate repetitive manual tasks while allowing photographers to continue using the gallery platforms and tools they already know.Related Resources
Frederick:
Let's start with Snapizzi.
Tell the TWiP listeners what Snapizzi is and what problem you're trying to solve for photographers.
Randy:
Snapizzi works alongside photography gallery platforms, beginning with Zenfolio, with additional integrations planned for other platforms.
For event photographers, the workflow is very simple.
Our software generates unique identification cards that photographers print before an event.
Each card contains a unique two-dimensional code.
At the event, the photographer photographs the card, then photographs the customer.
After the session, the customer keeps the card.
When the photographer uploads the images, Snapizzi automatically associates every photograph with that unique code.
The customer simply visits the photographer's website, enters the code printed on the card, and instantly sees only their own photographs.
There's no searching through thousands of images.
There's no manual organization.
Everything happens automatically.
Frederick:
I feel like I've seen something similar before.
When I lived in Marina del Rey, photographers would photograph boats and leave a card with the owner telling them where to view the photos online.
Is this essentially the same concept?
Randy:
Very similar.
The biggest advantage is that photographers can connect customers with their photographs without collecting names, phone numbers, or email addresses.
That makes the process extremely fast.
Whether you're photographing sports, dances, step-and-repeat events, or other high-volume assignments, the goal is always to keep people moving efficiently.
Snapizzi makes that possible.
Once the event is over, photographers simply upload their images.
Snapizzi handles the rest, allowing customers to find their photographs almost immediately by entering their unique code.
Frederick:
I love it.
Instead of forcing customers to search through thousands of photographs, they simply enter their code and immediately see the images that belong to them.
Randy:
Exactly.
That's the experience we wanted to create.
It's faster for photographers and much easier for customers.
Editor's Note:
Snapizzi has always used Data Matrix codes for subject identification. During the time this interview was recorded, we often referred to them as "QR codes" because that term was more familiar to photographers. Although both are two-dimensional barcodes, Data Matrix codes are more compact and better suited for high-volume photography workflows.Related Resources
Frederick:
What about situations where you don't have the opportunity to hand someone a card?
For example, imagine photographing a marathon where thousands of runners are crossing the finish line.
How would Snapizzi work in a situation like that?
Randy:
What I described earlier is what we call in-sequence matching.
The photographer photographs a unique identification card, then photographs the customer or group.
Snapizzi starts with that first code and automatically assigns it to every image that follows until it detects the next photographed code.
Then the process repeats.
For marathons and similar events, we use a different approach called in-photo matching.
Think about race bibs.
If each runner has a unique two-dimensional code printed on their bib, the photographer simply photographs the runners crossing the finish line.
Snapizzi detects any visible codes within the image and automatically associates that photograph with the correct participant.
That's something we've developed and continue to expand.
Frederick:
That's incredible.
So the challenge is really making sure the code is visible enough for the software to recognize it?
Randy:
Exactly.
With today's camera sensors and image quality, it's remarkable how accurately those codes can be detected.
As long as the code is visible, Snapizzi can identify it and connect the image to the correct person automatically.
Frederick:
I'd love to see that in action.
Do you have examples on your website?
Randy:
Absolutely.
If you visit Snapizzi.com, you'll find demonstrations showing how the workflow operates along with a detailed knowledge base that explains the different workflows and answers common questions.
Editor's Note:
Snapizzi supports multiple identification workflows depending on the type of photography assignment. While most school, sports, and event photographers use photographed Camera Cards (in-sequence matching), other workflows can identify subjects directly from photographed identification codes within an image (in-photo matching), making them well suited for races and similar events.Related Resources
Frederick:
One thing we talked about before the interview was the stigma surrounding high-volume photography.
Some photographers—particularly portrait, landscape, and fine art photographers—look down on event photography.
They assume it doesn't require creativity because you're photographing so many people.
What would you say to that?
Randy:
I think high-volume photography requires a completely different skill set.
When I started, we were still photographing on film.
If you've never photographed an event using dozens of rolls of film without being able to review a single image, it's hard to appreciate the amount of pressure involved.
You had to know your lighting.
You had to know your exposure.
Everything had to be right because there were no second chances.
I remember always feeling relieved when the lab called a few days later to tell me everything had turned out correctly.
Beyond the photography itself, there's also a tremendous amount of organization.
You're managing people.
You're solving problems.
You're adapting when something unexpected happens.
Sometimes a little duct tape can solve more problems than you'd ever imagine.
You learn to think on your feet.
Those are skills that transfer into every area of photography.
Frederick:
I've photographed both weddings and events, and they're different kinds of pressure.
With weddings, you're focused on one couple and one family.
With high-volume photography, you might have hundreds of people waiting in line.
Every photograph still has to look great, but you have only a few moments before moving to the next person.
Randy:
Exactly.
People sometimes call it the "McDonald's of photography" because everything moves quickly.
But that doesn't mean quality isn't important.
When I was running my photography company, I brought everything I'd learned from portrait photography into our event work.
We paid close attention to lighting.
For outdoor sports, we used large tents and tarps so we could control the light instead of relying on whatever conditions we were given.
Later we adopted green screen photography as well.
If you compared our work to other companies at the time, I was always proud that you could recognize the difference.
Our goal wasn't simply to photograph people quickly.
It was to give every family the best portrait we could produce.
Editor's Note:
High-volume photography isn't about sacrificing quality for speed. The most successful photographers build workflows that allow them to work efficiently while still producing consistently excellent images and customer experiences.Related Resources
Frederick:
One of the reasons I enjoy photographing people is because every photograph captures a unique moment in time.
A landscape can be photographed over and over again, but people are constantly changing.
A portrait becomes more valuable as the years pass because it preserves a moment that will never exist again.
Randy:
I completely agree.
There's another side to event photography that has always stayed with me.
Several times during my career, we unknowingly photographed a child just days before they passed away.
Those experiences completely changed the way I looked at what we do.
I always told my photographers that it probably wouldn't happen very often, but eventually one of the children we photographed would no longer be here.
I still remember getting a phone call after photographing a youth soccer league.
One of the players had been killed in a car accident only a few days after Picture Day.
I remember waiting for the lab to call because I desperately wanted to know that his photographs had turned out.
Fortunately, they had.
It was a beautiful portrait.
That experience reinforced something I've believed ever since.
No matter what anyone says about event photography, what we do matters.
The photographs we create become part of a family's history.
Sometimes they become memories that can't ever be replaced.
Frederick:
That's incredibly powerful.
It's easy to think of photography as simply taking pictures, but in reality we're preserving moments that people may treasure for the rest of their lives.
Randy:
Exactly.
That's why I've never believed event photography is somehow less important than any other type of photography.
Every photograph has the potential to become someone's most treasured possession.
That's a responsibility I never took lightly.
Editor's Note:
While this interview focuses heavily on workflow and business systems, Randy's story is a reminder that photography is ultimately about people. Whether photographing a school portrait, a sporting event, or a family celebration, photographers preserve moments that may become priceless memories for years—or even generations—to come.Related Resources
Frederick:
When people think about high-volume photography, they often imagine it's just a photographer with a camera.
But it sounds like there's a tremendous amount of planning and logistics involved.
Randy:
Absolutely.
When we photographed outdoor sports, we weren't just showing up with cameras.
We brought generators, lighting equipment, large tents, tarps, and everything else needed to create a controlled environment regardless of the weather.
You also have to think about changing light throughout the day.
If you're photographing from early morning until evening, the lighting is constantly changing.
Managing all of those variables is part of the job.
Frederick:
It sounds like a major production.
How large did your operation become?
Randy:
At our busiest, we sometimes photographed eight different leagues in a single weekend.
We had a staff of about seventy-five photographers and support personnel.
Everything had to be carefully organized.
We arrived before sunrise.
Everyone knew exactly what their responsibilities were.
Our equipment was organized so every setup happened quickly and consistently.
As we grew, I realized one of the most important changes I could make was stepping away from the camera.
Instead of photographing every team myself, I focused on managing the operation.
That allowed me to identify bottlenecks, solve problems before they became bigger issues, and keep everything running on schedule.
Our reputation became built around efficiency.
If teams were scheduled every five minutes, we stayed on schedule.
Parents weren't standing around waiting.
Leagues appreciated that we respected their time.
That level of organization became one of our biggest competitive advantages.
Frederick:
That really sounds like military precision.
Randy:
That's exactly what we were striving for.
The larger your operation becomes, the more important systems become.
Good organization doesn't just make the day run smoother.
It creates a better experience for everyone involved.
Editor's Note:
As photography businesses grow, owners eventually reach a point where managing people and processes becomes more valuable than personally performing every task. Building repeatable systems allows photographers to scale their businesses while maintaining consistency and quality.Related Resources
Frederick:
Technology keeps changing.
Cameras are getting better, sensors are improving, and the barrier to becoming a photographer continues to come down.
How has that affected your business?
Randy:
I think technology is good for every business.
The whole purpose of technology is to make things easier and help people work more efficiently.
Photography is no different.
If you're getting into event photography today, you don't necessarily need the most expensive camera available.
Modern cameras produce excellent image quality.
As long as you're creating images that meet your customers' needs, there's no reason to make the workflow more complicated than it needs to be.
One thing I've encouraged photographers to think about is image size.
If the final photograph is primarily going to be viewed online or printed at common sizes, there's often no benefit to uploading extremely large image files.
Reducing file sizes appropriately can dramatically speed up uploads, publishing, and delivery without affecting the customer's experience.
Today, getting photographs online quickly is incredibly important.
People move on fast.
The sooner customers can view and purchase their photographs, the better.
Frederick:
So you're really looking at the entire workflow—not just the photography itself.
Randy:
Exactly.
Everything is connected.
Technology should help photographers work more efficiently from capture through delivery.
The goal isn't simply producing a great image.
It's creating a better overall experience for both the photographer and the customer.
Editor's Note:
Choosing the right technology isn't always about buying the newest equipment. Often, the greatest improvements come from optimizing workflow, reducing unnecessary file sizes, and eliminating bottlenecks that slow down image delivery.Related Resources
Frederick:
Let's talk about pricing.
How does Snapizzi work for photographers?
Randy:
We wanted to keep it simple.
Before deciding on our pricing, I surveyed photographers and asked how long it typically took them to organize and publish images from an event with about one thousand people and roughly four thousand photographs.
On average, photographers told me it took about twelve hours.
Then I asked another question.
What is your time worth?
Or, if someone else is doing the work, what are you paying them?
The average answer came out to about forty-five dollars an hour.
That means photographers were spending roughly five hundred forty dollars in labor just organizing and publishing images from a single event.
With Snapizzi, that same project could be processed and published in less than twenty minutes after the upload was complete.
That's the real value.
We're giving photographers their time back.
Frederick:
When you look at it that way, it becomes a pretty easy business decision.
Instead of spending half a day doing repetitive administrative work, photographers can spend that time photographing another event or growing their business.
Randy:
Exactly.
The time savings are important, but there's another benefit.
Customers receive their photographs much sooner.
People are excited immediately after an event.
The faster those photographs are available, the more likely customers are to view them and place an order.
Today's customers expect fast service.
Getting galleries online quickly improves both the customer experience and sales.
Frederick:
So photographers aren't just saving time.
They're creating a better experience for their customers at the same time.
Randy:
That's exactly the goal.
Everything we build is designed to remove unnecessary work so photographers can spend more time doing what they enjoy and less time managing repetitive tasks.
Editor's Note:
Workflow automation isn't just about saving labor. Faster image delivery can also improve customer engagement and increase sales by making photographs available while excitement from the event is still high.Related Resources
Frederick:
Randy, congratulations on what you've built.
Businesses like Snapizzi help photographers move their businesses forward instead of simply selling another product.
You're helping photographers save time, become more efficient, and ultimately earn more money while getting part of their lives back.
Thank you for doing that.
Randy:
Thank you.
I really appreciate that.
One thing I'd add is that saving time is only part of the benefit.
When photographers can get their images online faster, customers are much more likely to find them while the excitement of the event is still fresh.
That leads to a better experience for everyone involved.
Frederick:
Absolutely.
In today's world, speed matters.
The sooner customers can view their photographs, the more likely they are to engage with them.
Randy, thanks again for joining me today.
Randy:
Thank you for having me.
I've really enjoyed our conversation.
Frederick:
If you'd like to learn more about Snapizzi, visit Snapizzi.com for additional information and resources.
Thanks for joining us, and we'll see you next time on TWiP Talks.
Editor's Note:
Although technology has continued to evolve since this interview was recorded, the core principles remain unchanged. Successful photography businesses are built by combining great photography with efficient workflows, excellent customer service, and a commitment to continuous improvement. Those ideas continue to shape the way Snapizzi is developed today.Related Resources
What is high-volume photography?
High-volume photography is the process of photographing large numbers of people efficiently while maintaining consistent image quality. It's commonly used for schools, sports leagues, graduations, dance studios, corporate events, and other large organizations where hundreds or thousands of portraits may be captured in a single day.
Is high-volume photography less creative than portrait photography?
No. While the workflow is different, high-volume photography requires its own specialized skills, including lighting, organization, logistics, time management, and customer service. The goal is to consistently produce high-quality images while working efficiently under pressure.
What is workflow automation in photography?
Workflow automation uses software to eliminate repetitive manual tasks such as matching subjects to photographs, organizing images, and publishing galleries. Automating these processes saves photographers time, reduces errors, and allows them to focus on serving customers and growing their business.
Why did Randy dela Fuente choose high-volume photography?
Randy discovered that high-volume photography provided a more stable and scalable business than relying solely on portrait sessions and weddings. It allowed him to build a successful photography company while applying the same commitment to lighting, quality, and customer service that he developed as a portrait photographer.
How does Snapizzi help photographers?
Snapizzi automates many of the most time-consuming parts of a high-volume photography workflow, including subject identification, image organization, Camera Cards, CSV workflows, and gallery publishing. It works alongside supported gallery platforms, allowing photographers to improve their workflow without changing the platform they already use.
Why is customer experience so important in event photography?
Customers remember more than just the photographs they receive. Fast gallery delivery, easy photo lookup, responsive communication, and an organized workflow all contribute to a better customer experience. Those improvements often lead to repeat business and referrals.
High-volume photography requires organization, efficiency, and strong business systems—not just technical photography skills.
Great customer service is one of the strongest competitive advantages a photography business can have.
Workflow automation reduces repetitive manual work and gives photographers more time to grow their business.
Faster image delivery creates a better customer experience and can increase sales.
Continuous improvement is one of the most valuable investments photographers can make.
Building better systems allows photographers to scale without sacrificing quality.
Successful photography businesses focus on improving both photography skills and business operations.
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