My WPPI 2017 Experience

You may have heard there's a little photography convention in Vegas every year. Over ten thousand photographers (mostly of the wedding and portrait variety) gather along with every possible associated vendor for the annual WPPI convention. Just the scale alone of the event is impressive. If you want some new inspiration or to further your understanding of the industry and it's latest trends, WPPI is where you want to be.

This was my second year attending the conference and I thought I'd share my personal take on the event. Previously held in the MGM, this year's event was moved to the Las Vegas Convention Center. From what I understand, the move was done to offer a little more room and save on overhead costs (something we all understand as business owners).

Honestly, I prefered the MGM, but the conference is really about the people. Regardless of the venue, you'll get your money's worth if you make new connections and hang out with old friends. I spent the first evening at dinner with friends I had met at a workshop last summer. It was great catching up, comparing notes, and learning about different markets.

The Keynotes

As a WPPI member, you get to see all the major keynote speakers at no charge (you just have to get yourself to Las Vegas). The keynotes are a tricky balance of inspiration and education. The really good ones will leave you in tears or push to take your business to new levels.

My favorite speaker this year was Me Ra Koh, a family and wedding photographer turned serial entrepreneur. Just look her up. She does so many great things, it's hard to keep up. The story of her journey was truly an inspiration.

Also at the top of the list was Peter Hurley, my headshot mentor. Sure I'm a little biased. But it was great to check in with his latest teachings and wisdom. A great headshot is all about the expression, and he's always got some new tricks to share.

Both speakers really stressed the importance of our roles as photographers—not in a technical sense but a very human sense. As photographers of people, we have incredible power and responsibility to pull the best from our subjects. That hard work of course makes for a great picture, but it can also change lives.

I also really enjoyed the talk from David and Luke Edmonson, a father son duo. David, Luke's father (insert Star Wars joke, he did), creates elaborately staged period portraits. Some are inspired by famous painters. The talk was inspiring from purely an artistic point of view, something we all need as artists.

The Classes & Expo

Throughout the conference, attendees have a wide selection of available courses to go in depth with acclaimed instructors about lighting, posing, business, or creativity. I attended a quick class with Joe McNally on location lighting. I picked up a few tricks in the hour and half class, but really I just wanted to watch Joe work & teach.

On the expo floor, I went in with a plan. If you don't have a plan, you'll wander from booth to booth drooling over new toys. Trust me, you will. I've been researching studio management software, so I spent time visiting a few vendors and peppering them with questions. I also visited WHCC, my preferred printer, to learn about the latest print and marketing pieces they offer to better promote my business.

All the major camera makers were there offering sensor cleanings. It's a great opportunity to get your gear checked without having to send it away.

Another great feature of the Expo is the print competition. If you need a new spark in your images, you'll want to start hanging around the print competitions. You'll learn a ton!

Final Thoughts

Will I go next year? I'm honestly not sure at this point. It's a costly adventure and my business focus now is really on my local market. One big frustration was the registration process. It's quite a tedious and time consuming ordeal to simply register and select an itinerary. The additional classes typical carry a fee, which is quite reasonable, but I found myself not registering for anything beyond Joe's class because I just didn't want to deal with the registration software. Given where software is today, I'm really surprised there's a not a better solution.

Last but not least, I joined Levi and fellow Photofocus readers and contributors for a photowalk on the Las Vegas strip. As a people photographer, I tend to gravitate to the behind the scenes shots of our gang having a great time or in deep thought as they get the shot.

Did you go to WPPI? Let me know what you thought in the comments!

Scott Lawrence Scott launched a successful headshot photography business after years of the corporate grind. A believer in the power of a great first impression, Scott's images help clients show their best selves to the world. He loves learning from and sharing with the photography community, geeking out about technical tricks, savvy marketing, and being a dad. He's a regular at Out of Chicago events, and you can find him at scottlawrencephoto.com or on Instagram or Facebook. Latest posts by Scott Lawrence (see all)
Source: My WPPI 2017 Experience

Six Tips for New Freelance Corporate Photographers

I've been shooting corporate jobs since about 2010. At first, it was a little rocky. I didn't really know what I was doing, I hadn't shot enough with other photographers to learn the ropes, and I was just a self-taught photographer trying to make ends meet. Fast forward to 2017, and I'm shooting high-profile executives at Fortune 500 companies, and am expected to do it quickly. I'm shooting luncheons where half of the attendees flew in from another hemisphere on their private jets, and am expected to do it quietly. And well. So, here are a few quick tips for people who are just starting out in the freelance corporate photography world.

Time is Essential.

If you don't keep time a high priority through all parts of the process, you're done for. Don't be late to gigs. Don't take too long responding to e-mails. Know what questions to ask about scheduling to make sure enough time is allotted for everything, or at least so you know how rushed you'll have to be during the shoot. Under-promise and over-deliver on the deliverables from the shoot; if you say it will take two weeks, try to deliver in one — and never deliver in three. Be dependable!

The Big Wigs Are People Too.

It's easy to become "star struck" when you're in close quarters directing and photographing celebrities or executives of Fortune 500 companies. One thing I try to keep in mind when this is happening is that these people are… people! They're like me. They have personal lives. They have families. They have needs and wants and are depending on you to make them look good. So, take a deep breath, and if you treat them like a friend, call them by their first name, and are just nice to them, things will work out. If they see you're relaxed, they'll relax too. Treat people -- even if it's the CEO of Walmart or Hugh Jackman -- like they're an old friend, and your images will be all the better. 

I asked Jeff Koons, a contemporary artist who holds the world record for the highest auction price for a single piece of art by a living artist, at $58.4 million, to climb a big ladder to get a good shot. He scurried up like it was no big deal. 

Be a Ninja!

Over the years I've learned the importance of being stealthy during corporate events. When you get hired to shoot events for a company, generally, they want to know you're there, but they don't want to see you. They don't want to hear you (And they certainly don't want to smell you!).

So, be a ninja.

Wear dark colors — all black is preferable. Try to be as quiet as possible. Don't wear loud shoes, space out your shots and use whatever "quiet" mode your camera has, if possible. Try to be gentle when changing lenses, and avoid loud velcro at all costs. If you don't need a flash, don't use one. Be a fly on the wall, a ghost, and your client will be that much happier. Don't have too much equipment while shooting events; you should be able to slip through the crowd pretty easily without causing a ruckus. Crouch at the front of the stage instead of standing. Perfect your duck-walk. You'll thank me later.

Sometimes, ninjas also climb things to get a good shot. It's not stealthy, but it's fun.

Be Prepared.

If it can go wrong, it will go wrong... eventually. Extra batteries and memory cards are a must. A backup camera, even if it stays in the car, is a great idea. Even having some safety pins, a small clip or two, and a small roll of gaff or duct tape might save the day and make your client appreciate you that much more. Hairspray and lint-rollers are great to keep nearby for headshots. A small sewing kit in the glove box could make a fashion client love you forever. You never know!

It's rare for me to be in photos, but when asked, I try to be a good sport. 

Problems Arise, Squash Them.

Problems arise all the time during commercial work, so you have to be ready for anything. Sometimes, things will be your fault, and sometimes they won't. Forget a sync cable? Be sure to know how to use the optical slaves on your flashes. Client doesn't know how to tuck in his shirt? Grab a clip from your bag and tidy it up. Terrible smiles? Learn some jokes. If you can solve problems on the spot, you'll be a hero. And if the problems are your fault, being able to solve them without losing your cool (or even letting your client know you left one of your radio triggers at home) is a powerful way of maintaining a good client relationship.

I'm not that good at jokes. I'm trying. 

Give the Client What They Want.

No, you probably don't want to just shoot boring headshots on a white background all day. That's not creative. That's not you. But, sometimes, you need to do it anyway. You can do the shots the client wants, then try to grab a couple of unique ones for yourself (and they might like those better anyway!), but if the client is asking for something specific, do your best to deliver. Even if it's not your typical style. That way, the next time you suggest something that's a little out of the box, the client might be more inclined to listen to you.

If they really want to look at the back of the camera, say yes and hope for the best.

Getting into corporate photography isn't easy. Generally, you need to be vetted and come with some good recommendations from past clients. You have to prove yourself during the first couple of events or shoots, and then after that, things get easier. Building trust with clients is a huge part of the freelance life. You want them to love your work, and at the very least, like you. 

Source: Six Tips for New Freelance Corporate Photographers

Invisible Photographer Asia | Mentorship Program call

Applications are invited for the Invisible Photographer Asia IPA Mentorship Program, a selective intensive, fee-based program conducted online. Application is open to photographers in Asia and beyond, of beginner to intermediate levels, interested in all manner and categories of photography.

Coming to its fourth year, the IPA Mentorship Program is an intensive 3-month program by Invisible Photographer Asia (IPA) for those who wish to further their personal photographic vision and goals and importantly, to strengthen their narrative conception and expression. The program, an extension of our traditional on-site photo workshops taught across cities in Asia, is conducted one-to-one and group sessions using the online platform. The aim is for mentees to conceive, continue or finish a photo project or series as a method to strengthen their photography and understand the concerns of their individual practice.

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IPA Mentorship participants have showcased their projects at Singapore International Photography Festival, Mt. Rokko International Photo Festival (Japan), Angkor Photo Festival (Cambodia), China-ASEAN Photography Festival (Nanning China), and Odessa/Batumi Photo Days (Ukraine) to name a few.

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The 2 key ingredients of the IPA Mentorship Program are Collaboration and Time. The Program seeks to create an environment of collaboration between mentors and participants where the primary focus is to discuss, incubate, critique and develop the participants' personal photography. The Program also recognizes the value of Time – time for in-depth discussions and mentor relationships, time for participants to react and respond to feedback, and inturn develop and realise projects or personal photography goals.

Fees for the IPA Mentorship Program is USD$600.

Intake is through application and selection. Application is open to photographers in Asia and beyond, of beginner to intermediate levels, interested in all manner and categories of photography.

See website for how to apply – deadline is 28 February 2017

Source: Invisible Photographer Asia | Mentorship Program call

I Braved a Blizzard to Find My Bohemian Chic Starter Pack

She said, "These things always start late."

I confessed that I was a front row virgin. Could they offer me any etiquette tips?

He said, "Sit up straight and always be picture ready because everyone's taking pictures of the models with their phones, so they're also taking pictures of you."

She said, "Keep your phone out of other people's shots."

When the lights went out, I saw what she meant: all along the front row, phones were propped on knees like Pomeranians.

There was an announcement, more etiquette, three words: "Uncross your feet."

She whispered, "So the models won't trip."

He whispered, "Take it all in."

Here's what I saw: fringe! Swaying off the backs, breasts, hips, and pelvises of models. Fringe on capes and gowns. Fringe at the ends of rope necklaces. Fringe at the ends of scarves. Fringe bangs. It was obvious that the models liked wearing it. I liked watching them wear it. Fringe is happy. Fringe is feminine. Fringe makes every woman well-endowed.

I want to be the kind of woman who wears fringe. I want to be bohemian chic. But my idea of bohemian is my grandmother's pearl circle pin. Erin Fetherston's bohemia is drawstring dresses and billowing sleeves, paisley prints, silks, and chiffons. Her clothes are ethereal. Earthy. I felt like I'd stumbled into a party of fairies, colored like an enchanted forest in moss green, falling leaf yellow and rose pink.

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Could I dare join them?

The D.J. blasted Warpaint, the chorus sang: "You're a new song! You're a new song, baby! You're a new song to me!" And I felt renewed. I felt brave. And then I saw it: a burgundy velvet jumpsuit with three-quarter sleeves—my bohemian chic starter piece. And it was paired with gold flats!

She said, "Follow me. I'll pretend I'm your handler."

The show ended and I noticed that clapping with iPhones mutes applause.

The man to my left asked, "Did you enjoy it?"

"Yes."

The young woman to my right asked, "Do you want me to get you backstage?"

I didn't think, I just said: "Yes!"

She said, "Follow me. I'll pretend I'm your handler."

Turns out, everybody lies for fashion. But not in any sort of harmful way.

My real life fashion week fairy pushed through to the front of the crowd that was being held at the backstage entrance.

A gatekeeper said, "You all have to wait to see Erin, the models are changing."

A woman behind me shouted, "But I'm a woman too, I'm not a perv!"

This line of reasoning did not get her in. But I got in because my fashion week fairy took me by the sleeve and barreled past a 6' security guard.

She led me straight to Erin Fetherston, who I couldn't distinguish from the models, except for the fact that she was fully clothed. Erin is tall, lithe, with white blonde hair and the complexion of an angel on the top of a Christmas tree. The woman glows. And she is gracious.

I said, "Thank you so much for having me, your collection is gorgeous. What can you tell me about the velvet, burgundy jumpsuit?"

She smiled and said, "What woman doesn't need a velvet burgundy jumpsuit?"

After my morning on the front row, I am now the kind of woman who'd trade in her green Hunter boots for one.

Helen Ellis is the author of, most recently, American Housewife.

Source: I Braved a Blizzard to Find My Bohemian Chic Starter Pack

12 photographers document war and its aftermath

There are myriad ways that photographing war and its aftermath can be presented by a museum.

There could be an historical approach -- photography has been inextricably intertwined with war since the birth of the medium. The daguerreotype, introduced in 1839, was immediately hailed for its accuracy in depicting armed conflict. In the 1860s, the Civil War became the first conflict to be extensively photographed with images widely reproduced, seen and sold.

Since then, war photography has been seared into our collective image bank -- Marines raising the flag on Iwo Jima, the little girl burned with napalm running naked down a Vietnamese road, the man facing down the tanks in Tienanmen Square and hundreds of others.

Or an exhibition could concentrate on a specific conflict with multiple views of, for example, World War II, the Vietnam War, the war on terror, etc. Or it could collect the work of a noted war photographer, from the Civil War's Matthew Brady to World War II's Robert Capa to Vietnam's Eddie Adams.

For "Conflict and Consequences: Photographing War and Its Aftermath," the Sheldon Museum of Art has chosen another option -- presenting the work of 12 photographers who have spent their careers as journalists, documentarians and artists, shooting in war zones, capturing images of the conflicts and the results of the fighting.

All the photography in the show could be classified as contemporary. The oldest images date to 1978 when Susan Meiselas documented the Sandinista National Liberation Front's revolution against the dictatorship of Anastasio Somoza Debayle.

But the remainder of the images come from the 2000s, depicting aspects and impacts of the wars in Afghanistan and Iraq, east African genocide and civil wars in Sierra Leone and Syria.

The latter images, by Andrew Stanbridge, aren't "ripped-from-the-headlines" shots of the ongoing battles between the Syrian army and ISIS and the resulting humanitarian crisis that has sent refugees spilling out around the world.

Rather, they are a series of four color prints from 2012, that illustrate the early days of the conflict -- a man shouting at the sky in the rubble of his destroyed home, a portrait of an al-Qaeda associated fighter, tattooed hands holding a machine gun and, potently, a dirt-smeared doormat with the face of President Bashar al-Assad.

Stanbridge doesn't want to be known as a "conflict photographer," but he educates those new to the field to the dangers of working in the hostile environments. Nor is he a photojournalist, like Kenneth Jarecke, whose three images in the show come from his acclaimed coverage of Operation Desert Storm in the 1991 Gulf War.

All the photographs in "Conflict and Consequence" are, by nature, documentary. But there is a distinction between journalism and art photography, a differentiation of intention and editing acknowledged by Louie Palu, who left the Toronto Globe and Mail to work as an independent documentary photographer and filmmaker.

"Photojournalism was limiting for me," Palu says in one of the exhibition's wall labels. "I started to ask myself, 'Why don't we see insurgents? Why don't we see see dead bodies?' Not having a newspaper editor always tell me what to do has become the most important aspect of my work."

To that end, Palu images from Afghanistan in 2010 show a wounded Afghan soldier in the cabin lights of the medevac helicopter evacuating him from a Taliban stronghold and a Army medic talking with a wounded American soldier on another helicopter.

One of Meiselas' photographs shows the body of a National Guardsman, killed during the fighting engulfed in flames, being burned with Samoza's official state portrait.

Beyond that, however, "Conflict and Consequence" doesn't contain any gruesome images -- by design.

"I don't think we wanted to be gratuitous," said Sheldon associate director Todd Tubutis, the exhibition's curator. "I wouldn't say it was designed around that, but we were aware of the impact of gratuitous images can have, their shock value."

Even so, the fourth-grade tours that regularly come to Sheldon bypass "Conflict and Consequence" and it is recommended that parents see the exhibition before taking their children.

"My goal," Tubutis said, " is to have parents have a look first, then, if they bring in their kids, say let's have a conversation about this."

The toughest material in the exhibition appears to be some of its calmest -- a trio of portraits of a mother and a child taken in Rwanda in 2007 by Israeli-born photographer Jonathan Torgovnik.

But the photographs from his "Consequences" series depict one of the ongoing horrors of the 1994 Rwandan genocide -- the women, members of the Tutsi tribe, were raped by Hutus and the children, age 12 or 13 when the pictures were shot, were born out of the violence.

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That has created difficult relationships between the mothers and the children -- visually apparent in the image of "Bernadette with her son Faustin," the mother with one leg sitting on the ground, the son standing on the opposite side of a doorway. In contrast, "Josette with her son Thomas" finds mother's arm wrapped around the shoulders of her son, holding him close.

Similarly, "In My Life," a series of images taken by Miriam X in collaboration with documentarian Sara Terry, tells Miriam's story through benign images of Sierra Leone, with captions that describe what the scenes represent to her.

Abducted at 11 by rebels, raped, made the wife of a rebel commander and forced to bear his child, Miriam X (a pseudonym) was a child soldier during the 1991-2002 civil war and her captions are heart-rending, whether talking about rape with a picture of an infant lying on its back on a dusty road or looking at a hole in the ground, saying it resembles a place where a woman was buried alive.

At the end of the series, the captions speak of forgiveness and a picture of Miriam in the shadows says that taking the photos helped her forgive herself and deal with what happened in her life.

"In My Life," like the photographs of Meiselas and those of the late Tim Hetherington, who shot U.S. troops in Afghanistan along with making his superb documentary film "Restrepo," are hung without frames -- putting an emphasis on the image on paper as opposed to that of an art object.

Another series of work, particularly resonant in the midst of the current debate over refugees entering the U.S., comes from Jim Lommasson, who collaborates with Iraqi refugees in "What We Carried: Fragments from the Cradle of Civilization."

Lommasson photographs cherished objects that the refugees have brought to the U.S., then asks them to write on the print, talking, for example, about the pictures of their home and numbers in an old cell phone, a Washington Post press pass and a family picture that details where each of those depicted now lives.

Palu's "Garmsir Marines" is another series that, in the exhibition, is targeted at University of Nebraska-Lincoln students. A collection of 13 straight-on, close-up portraits of U.S. Marines in Afghanistan in 2008, the "Garmsir Marines" are, with a couple of exceptions at 31, in the early 20s -- the same age as the students who will view them.

That is because "Conflict and Consequences" is an exhibition created to work within the university, used for studies beyond art and photography. It does that well for students -- and for those who will look at the images and contemplate their origin and ongoing meaning.

Source: 12 photographers document war and its aftermath

President Donald Trump goes golfing with the Japanese Prime Minister Shinzo Abe while the first ladies tour gardens

PRESIDENT Donald Trump spent this morning golfing with Japanese Prime Minister Shinzo Abe, as he hosts his first foreign leader at his winter estate in Palm Beach, Florida.

His wife, First Lady Melania, took a tour with Mrs Abe of Morikami Museum and Japanese Gardens in Delray Beach.

Twitter

President Trump posted a picture of himself and the Japanese Prime Minister having a high-five as they play golf

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First Lady Melania Trump and the Japanese Prime Minister's wife, Akie Abe, spent the day touring a museum and garden

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Mrs Trump was criticised yesterday for not meeting Mrs Abe

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But today they spent the day together and fed koi carp in the ponds of the Japanese garden

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Both couples dined together after arriving at Trump's Mar-a-Lago Club in Palm Beach, Florida

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The pair were expected to have lunch together following a tour of the gardens and a museum

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The ladies spent the day together as their husband's played a round of golf

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Park Administrator Bonnie White Lemay gave them a tour of Morikami Museum and Japanese Gardens

This marked her first solo public appearance and came after she was criticised for not spending yesterday with the Prime Minister's wife – a statement from the White House said she had been told Mrs Abe had other engagements.

The First Lady revealed a love for gardening as she confirmed she is committed to ensuring the continuation of the White House gardens.

In a statement to CNN she said: "Both our countries histories and cultures are steeped in the nurture and nature of gardening.'

"Having knowledge of different cultures and customs is a wonderful way to learn and to explore.

"Gardening teaches us the fundamentals in care and the evolution of living things, all while inspiring us to nurture our minds and to relax and strengthen our bodies."

AP:Associated Press

Protesters gathered near the entrance to Trump National Jupiter Golf Club and Spa where the President and Japanese Prime Minister were golfing

Reuters

They held signs opposing the wall the President plans to build between the US and Mexico

Reuters

The couples had dinner together last night at the resort in Florida

Getty Images

They were joined by Robert Kraft, the owner of the New England Patriots, for dinner

AP:Associated Press

Mrs Trump wore an all-white outfit as she toured the museum and garden

Reuters

The First Lady today expressed her love of gardening

Reuters

The pair enjoyed the sunshine as they visited the Japanese Garden

After a rocky diplomatic start for the President that included contentious phone calls with the leaders of Mexico and Australia, this has been a decidedly friendly weekend of meetings, dinners and golf.

Trump and Abe left Mar-a-Lago early this morning and headed to one of Trump's golf courses in Jupiter, Florida.

The choice to take the Prime Minister to his own resort has been questioned as a possible ethical problem.

John Wonderlich of the Sunlight Foundation told NBC News that if the President is receiving money from a foreign government by hosting at his resort and if the Prime Minister is staying for free "he is donating money to a foreign government", there is "clearly a conflict of interest".

White House spokesman Sean Spicer said the Prime Minister was Trump's guest.

Photographers were unable to capture the pair as they played on the 285-acre property, but Trump later posted a photo of them giving each other a high-five on the golf course and tweeted: "Having a great time hosting Prime Minister Shinzo Abe in the United States!"

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Abe had joked at a joint press conference at the White House on Friday that he was looking forward to playing golf with Trump, even though he's not nearly as good with a club.

He said he planned to use the time to discuss the future of the world, the Pacific region and U.S.-Japanese relations.

The two couples touched down in Florida on Friday afternoon and headed straight to Trump's Mar-a-Lago Club, where they enjoyed a late dinner at its crowded patio restaurant.

They were joined by Robert Kraft, the owner of the Super Bowl champion New England Patriots, and several interpreters.

A more formal delegation dinner is expected to take place this evening.

Splash News

Both Mrs Trump and Mrs Abe took in the beautiful gardens, which include a pond full of Koi

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They were trailed by a large group of reporters and photographers, while their husbands kept their round of golf private

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The First Lady said in a statement she had been told Mrs Abe had previous commitments on her first day in the US, which was why she was not with her

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They spent a moment alone together while at the centre of a bridge in the gardens Awkward moment Donald Trump and Shinzo Abe shake hands for 17 seconds

Trump also was expected to tend to other business in Florida, such as calling Tunisian President Beji Caid Essebsi and Colombian President Juan Manuel Santos as part of his continued conversations with foreign leaders.

As a candidate, Trump often railed against former President Barack Obama for his frequent golfing, claiming Obama played more often than players on the PGA Tour.

He said if he won he'd likely be too busy to golf and would only play with people he was looking to make deals with.

He was criticised for this tweet in which he called Prime Minister Abe 'Prime Minister Shinzo', with British comedian Danny Wallace pointing out "you're not President Donald".

This week, after the decision was made to stay his previous travel ban the President is considering signing a "brand new order" to ensure his travel ban is reinstated next week.

And upon meeting the Japanese Prime Minister, the handshake between the US President and Mr Abe faced scrutiny.

Lindsay Lohan has decided it is time to tackle the Syrian refugee crisis and this week said she wants to host a star-studded meeting with Donald Trump and Vladimir Putin.

We pay for your stories! Do you have a story for The Sun Online news team? Email us at tips@the-sun.co.uk or call 0207 782 4368.

Source: President Donald Trump goes golfing with the Japanese Prime Minister Shinzo Abe while the first ladies tour gardens

President Trump just had the most awkward handshake of all time

President Trump reportedly spent a meeting with 10 senators on Thursday complaining about voter fraud. The gathering was intended to be a discussion about Supreme Court nominee Neil Gorsuch. Politico reported that as soon as reporters exited the room, Trump began telling the group of senators how both he and former Sen. Kelly Ayotte (R-N.H.) — who lost her re-election bid and is now serving as a Capitol Hill liaison for Trump on Gorsuch's nomination — were victims of a rigged election. Ayotte was in the room, as was White House Counsel Don McGahn.

Trump obviously won the election, but he narrowly lost New Hampshire to Hillary Clinton. He told senators Thursday that was because of the "thousands" of people "brought in on buses" from Massachusetts to "illegally vote" in New Hampshire. The room reportedly responded with an "uncomfortable silence."

Trump indicated that this voter fraud, of which there is no evidence, had also affected Ayotte, though he suggested her loss might have also had something to do with her decision to distance herself from him after he criticized the parents of a Muslim Gold Star soldier. "He told her, 'You'd have won if you'd been on my train," a participant told Politico.

Then, as the cherry on top of that crumbling cake, Trump told Democrats he was glad "Pocahontas" — his chosen nickname for Sen. Elizabeth Warren (D-Mass.) — was "becoming the face of 'your party,'" Politico reported.

Trump has repeatedly claimed millions voted illegally in the presidential election, causing him to lose the popular vote to Clinton, but he has yet to produce any evidence to substantiate those claims. Becca Stanek

Source: President Trump just had the most awkward handshake of all time