I attended the Friday preview evening and the Saturday and had a great time, but there are a few things that I think could be improved before Star Trek London, which I guess is the next big event:
Firstly, the tape on the floor advising parons where to queue doesn't work. I'll always queue and try to just get on with it if there is a long queue, it's long because loads of other people want to do the same activity as me, hence the long queue. If I wanted to get through the queue faster I should have turned up earlier, that's how queuing works. Unfortunately, not everybody who attended LFCC seems to feel this way. I queued for over an hour before early entry on Saturday morning, only for 2 blokes to just try to subtly ease there way into the line right near me, having just arrived. Moreover, when the photoshoots had to be moved due to others overrunning the queues descended into farce, particularly the Adam Baldwin shoot later on Saturday. I really think Showmasters should look into obtaining some of these:
Large events like festivals hire large numbers of them to arrange queues and I think the same should be done here. It would make it clear where people should queue when they arrive in the mornings before the event opens and would keep people in the right order whilst waiting for photoshoots.
On the subject of photoshoots, there are a few other points I'd like to raise. Firstly, a couple of years ago people were called for photoshoot queues in much smaller batches, something which sadly seems to have been lost. If I log on to the online store as a new guest is announced and hurriedly buy my ticket, which let's say turns out to be #2 (as timelord81r almost certainly beat me to it...) I think it's unfair that crew will then sometimes call #1-150 or #1-200 straight away. I seem to remember that a couple years ago it was #1-50, then #51-100 etc. which means that you don't spend over an hour in a photoshoot queue in which you're holding a ticket with a number less than 10 (which I must admit happened to me multiple times).
Also, regarding the controversial "printing on site", I believe that this should only have been offered if the quality of the prints could be maintained. I feel that I was very lucky in that 4 of my shoots were printed at Boots and only 2 were printed at the show (you can tell by whether or not the file name is written on the reverse of the print. The colours in the on-site prints are much worse. A good way to illustrate this is to look at the colour my t-shirt in these shoots (the Jeri Ryan shoot was printed in Boots, the Gates McFadden one was printed on site and as you can see, the blue is a lot "weaker" in the on site photo):
Overall I had a great time, as always, I just think changing little things like this could make such a difference