TIME&SPACE Blog
100 articles in this category.

Insights Live shows a check-in number beside scans, selfies and downloads. It comes from a single tap in the TIME&SPACE app, it only counts once per person, and it means something different from a scan. Here is exactly what it tracks.

TIME&SPACE has a fourth collaborator role beside Owner, Team member and Photographer: VIP. It cannot upload, delete or touch a single setting. What it opens instead is Insights, Live mode only, and nothing else.

The roster, uploading a speaker or artist lineup so each person's photos find them automatically, comes with Advanced and Pro. On Starter it is a separate 88 EUR add-on called Roster Pro. Here is exactly when that applies.

Photos from an event that already happened still get a full STARTER, ADVANCED or PRO delivery, at 50% off the standard price, agreed directly and invoiced.

Event photos sit in Ireland, face matching runs in the Netherlands, and nothing involved in finding a guest's photo leaves the EU.

TIME&SPACE builds a page for public events before anyone signs up. If yours already exists, claiming it is free, one click, and the link stays valid for 90 days.

Change your TIME&SPACE username and the old one keeps redirecting for 90 days, so any link, QR code or bio you already shared still finds you. Here's the exact rule.

A TIME&SPACE event has three access roles: Owner, Team member, and Photographer. Here's exactly what each one can do, and the one thing a photographer can touch that surprises most owners.

Registered non-profits and associations can get pricing below the standard plans, decided case by case and framed as a partnership, never a fixed discount code.

A stadium is not one event, it is a venue that hosts a different one every week: a match, a touring concert, a corporate takeover. Photo delivery has to reset for each booking while the building itself never changes.

The Sponsor Package scans your event photos for each sponsor's logo and gives that sponsor a private page with the photos where we found it. Here is how it works and what it costs.
The Verified chip on a TIME&SPACE organiser profile is automatic after one real, paid or admin-assigned event. Never for sale, never for a draft.
The TIME&SPACE app home feed is not one flat list. A small set of personal cards sits above it, then a ranked feed decides which events to show first, weighing how soon an event starts, how live it is right now, and whether it matches what you actually care about.
Your event photos can stay in your archive indefinitely. The face index built from them cannot: it is deleted within a year of upload, whether or not you keep the photos themselves.
Deleting your TIME&SPACE account does not erase anything right away. It opens a 7 day grace period you can cancel, then an automatic erasure.
Scans, matches, downloads, shares, upload velocity by hour: every event plan includes analytics. Here is exactly what the numbers mean and where each one comes from.
Every photo on TIME&SPACE carries one of three visibility settings. Public sits in the gallery for anyone to browse. Match Only is delivered only to the guest whose selfie matches it. Private never reaches a guest at all, not even that same guest.
Every photo a guest finds, on the scan results page, in the public gallery, on a photographer's portfolio, carries the same share button. One tap opens the phone's own share sheet, Instagram, WhatsApp, Messages, with the watermarked photo already attached.
An event is rarely run by one person. TIME&SPACE lets an owner add team members and photographers to an event, each with a different set of permissions, and team size is unlimited on every plan.
An event's cover photo is not decoration. It is what sits at the top of the guest gallery and what every social app shows when someone shares the event's link, on every paid plan, no Event Branding required.
Event Branding is two specific things: a custom colour scheme and a custom font on your guest gallery pages, available on ADVANCED and PRO. The logo and the tagline are not part of it, because every plan already includes those.
The QR code that sends guests to their photos does not have to be a plain black square. TIME&SPACE lets you set its colours, dot shape and logo, checks the result stays scannable, and exports it as PNG, SVG or PDF for print.
Face recognition does not care when a photo was taken. Upload the photo set from an event that already happened, any format, any volume, and past attendees find their own photos with a single selfie, at 50% off any standard plan.
On every TIME&SPACE plan, photos with no recognisable face, crowd shots, venue details, stage wides, publish themselves to your event page automatically. No selfie required, no organiser action needed.
Hand out as many labelled, trackable links to your one event URL as you need. Each one counts its own visits, so you see which channel actually sent people to their photos.
A roster invite lets an organiser add a speaker or performer by name and email before the event even happens. If they agree and leave one photo of themselves, TIME&SPACE finds them in the uploaded photos and emails their photos automatically, no QR code, no gallery visit.
Every paid TIME&SPACE plan includes an embed widget: one snippet that drops your event's full photo gallery straight into your own website. Here's what it actually shows, and what it still carries no matter which plan you're on.
Every organiser on TIME&SPACE gets one page listing every event they've run, past and upcoming, at one address that never changes. Here's what it actually shows and why it exists alongside the event page, not instead of it.
A job fair fills a hall with strangers meeting for the first time. Photo delivery has to reach both sides, employers and candidates, without turning either into a lead list.
A parade has no fixed audience and no gate. Photo delivery for parades and street festivals has to work for a crowd that was never counted and never checked in.
A runner crosses the finish line and leaves within the hour. Photo delivery for running events only works if the gallery is ready before they do.
A cosplay crowd is the one audience built entirely around being photographed, and also the one hardest for face recognition to read. Masks, paint, and prosthetics change the plan without changing the demand.
Every guest at a town hall is also a badge number, a manager, and a job title, which changes what consent actually has to cover. The room is seated and easy to shoot. The harder problem is everyone who was not in it.
Three plans, one real question: how many guests are coming, and does the gallery need to look like your event rather than like a generic tool. Everything else follows from those two answers.
A food and wine festival has no stage to face and no seats to sit in. Guests graze between stalls in a loose crowd, and the photos worth delivering are spread across the whole footprint, not concentrated at one point.
TIME&SPACE will be at REINVENT the Event 2026 in Estoril on 19 October, as a partner. Here is what the gathering is and why it is worth an event professional's day.
A dance recital fills one room with dozens of families who each want photos of one child, from a show that runs class by class for two hours. Face recognition is built for exactly that split, but the consent has to come from a parent, not the performer.
Most of the crowd at an esports event is watching a screen, not a stage, and the people worth photographing are split between soundproof player booths and a costumed audience that came to be seen. Delivery has to reach both.
A concert is not a small festival. One artist, one night, a photo pit with a three-song limit, and a venue that hosts a different show tomorrow. Photo delivery for it needs its own plan, built for the venue, not the lineup.
A company holiday party is the one event on the calendar where colleagues, partners and sometimes children all show up together, off the clock, and every one of them wants the photos afterward. It needs its own plan, not a smaller version of the team offsite.
A reunion brings together people who last stood in the same room five, ten, twenty years ago, and it spans every age from a grandparent to a toddler who was not born the last time. Photo delivery has to work for all of them, not just the guests who find a QR code easy.
A gallery opening photographs the work, the artist, and the room, but only one of those three is what most guests actually came for a photo of: themselves standing in it.
A runway show has three audiences who need different photos on different timelines: press who need them within the hour, buyers who need the full look, and the brand that needs to control what goes out first.
A milestone birthday has no ticket list, no badge scan, and often no single host in charge of anything beyond the venue. Photo delivery still has to reach fifty guests who never gave anyone their email.
A hackathon runs for 24 or 48 hours straight, has no fixed schedule anyone can hand a photographer, and ends with teams too exhausted to think about photos at all. Delivery has to work around all three.
A mixer has no schedule, no stage, and no single moment everyone shares. The photos that matter are dozens of small ones, two people talking, a business card changing hands, and the delivery has to keep pace with a room that never holds still.
An offsite is not a public event, and it should not be delivered like one. The photographs still need to reach every person who was there, but the audience is closed, everyone knows everyone, and the photos are going back into the office on Monday.
A baptism or a first communion has one family at the centre and a room full of relatives who all want the same handful of photographs. Here is how to get them there without a group chat.
A product launch has three audiences in the same room, each wanting different photographs for different reasons. Guest delivery built for one of them quietly fails the other two.
Running delivery for one event is a task. Running it across a dozen client events a year is a system, with its own questions about ownership, access and what happens when a client leaves.
The creative brief and the venue accreditation both get done. The half hour that decides whether photographs actually reach guests is the one nobody schedules.
Every field you put between a guest and their photographs costs you some of them. Sometimes the account earns its place, and it is worth knowing exactly what it buys before you ask for it.
The people who built the event are the least likely to appear in its photographs, and the least likely to be sent any. Both of those are fixable, and one of them is how you get them back next year.
The scan itself needs almost no words. Everything around it does, and those are the parts that get machine translated at midnight and never read again.
A thirty person workshop produces the highest photo density of any event you will run. Almost nobody plans for it, and the photographs sit in a folder nobody opens.
Some events should never appear in a search result. Delivering photographs from them means separating two things most galleries treat as one: who can reach the page, and who can be found on it.
Most of the photographs your event never gets are lost to access, not to skill. Accreditation is the document that decides what your photographers are allowed to see.
Trade show photography splits between exhibitor booth shots and general floor coverage. Comparing delivery methods for both, and why one platform can serve either.
Retreats sit somewhere between an intimate event and a group of strangers who want their own quiet keepsake, not a public feed of everyone else's experience.
Speakers need a good photo on stage more than almost anyone else at a conference, for their own site and next year's speaking application. Most never get one.
A DJ plays a two-hour set and usually ends up with nothing to post, chasing whoever had a camera. Comparing how DJs actually get their own photos versus how they should.
Birthdays, anniversaries, and private parties produce photos scattered across dozens of phones. Comparing group chats, tagged posts, and a proper shared gallery.
An embargo asks every photograph to wait for a moment that guest delivery is built to skip. Get the timing wrong and the surprise is gone before the room finds out.
The people on your stage need photographs of themselves more than anyone in the room, and they are usually the last to receive any.
The group photograph is the most requested frame at most events and the one most likely to go wrong. The problem is almost never the camera.
A monthly gathering has an advantage a festival never will: the same people keep coming back. Almost nobody builds their photo delivery around that.
Press coverage of your event depends on a journalist having a usable photograph before their deadline. Most organisers send the wrong files, too late, with no licence attached.
Family events, school ceremonies and community festivals all involve children in the frame. The rules are not complicated, but they have to be decided before the day rather than argued about after it.
A camera dies, a card fails, someone wakes up ill on the morning of the event. None of these are unlikely. The difference between a bad day and a lost archive is whether the plan existed before the phone rang.
Universities run more events per year than almost any other organisation and deliver photographs worse than almost any other, mostly because the team changes every June.
An activation has one advantage over every other event type: people came expecting to be photographed. The failure is almost always in what happens after they walk away.
Every event has a few. Handled well it costs you nothing and they never think about it again. Handled badly it is the thing they remember about your event.
Takedown requests are rare, easy to handle, and go badly only when nobody decided in advance who answers them. Here is the process, written before you need it.
The honest answer depends on how many places something can happen at once, not on how many guests you have. Guest count is the wrong number to budget from.
A photo gallery that only works for sighted users with steady hands and fast data excludes a real share of your guests. Most of the fixes are small.
A graduation produces one photograph that matters enormously to each family and nothing to anyone else. Here is how to get the right frame to the right people without a spreadsheet.
A gala raises money on the night. The photographs raise it afterwards, if you deliver them while donors still feel the evening. Here is how to plan coverage around that.
A road race produces thousands of participants who all want the same thing: the photo of themselves crossing the line. Here is how to deliver it without bib-number data entry.
A three-day festival is not one event photographed three times. Here is how to plan coverage, uploads and delivery so guests get their photos on day one instead of the week after.
Event photography copyright determines who owns the photos taken at your event. Here is what every organiser needs to know before signing a photographer contract.
Most organisers never decide this, so the answer becomes whatever the platform defaults to. It is worth choosing deliberately, and telling guests what you chose.
Most event photos go undownloaded. These 7 proven tactics help organisers increase download rates, deliver more value to guests, and prove ROI.
People are eating at home to fund concert tickets. Live Nation sold 107 million in a year. The data is unambiguous, and it changes what organisers do next.
Learn how to secure sponsors for event photography, structure deals that benefit both sides, and turn your photo delivery into a revenue-generating partnership.
Use this 12-step event photo delivery checklist to cover platform setup, photographer uploads, face matching, guest notifications, and GDPR compliance.
Learn how to select event photos that tell the full story of your event. A practical framework for curating the best images from any shoot.
An event photographer brief is a single document that defines deliverables, timeline, must-capture moments, brand assets, and photo delivery rules.
A complete guide to event photography release forms: what clauses to include, when signed consent is required, and how to collect consent at scale.
Set up a corporate event photo gallery that protects attendee privacy, drives downloads, and delivers real brand value after every company event.
Learn how to craft a post event email with photos attendees actually open, download, and share. Avoid the five mistakes that reduce engagement.
A practical event day photography schedule to brief your photographer, avoid coverage gaps, and capture every key moment from setup to the final shot.
Learn how to brief an event photographer with a pre-event checklist that covers shot lists, key moments, brand assets, and delivery expectations.
A modern approach to sharing wedding photos with every guest automatically, without weeks of waiting or manual distribution.
Learn proven strategies to increase guest engagement with event photos, from QR code placement to post-event follow-up timing.
Event photo analytics reveal which moments resonated most with your guests. Learn which metrics to track and how to use photo data for better events.
Learn how to choose an event photographer with confidence. Covers portfolio review, pricing, contracts, delivery expectations, and briefing.
Strategic event QR code placement can triple your photo scan rate. Learn exactly where, when, and how to position QR codes at any event.
Learn how to share event photos with attendees at scale. From QR codes to face recognition, discover the fastest ways to deliver photos guests actually.
A practical GDPR guide to event photo consent: what the law requires, how to word your notices, and how to handle opt-outs at the door.
A step-by-step guide to automating photo delivery at live events so every guest leaves with professional photos of themselves.