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|| SportsShooter.com: Member Message Board
Concert photography
Monty Rand, Photographer
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Bangor | ME | USA | Posted: 1:41 PM on 01.29.10 |
| ->> It looks like I may have the opportunity to shoot a rock concert within the next few days. If all works according to plan, I'll be issued a media credential. Not having shot concerts before, can anyone provide some do's and dont's? Thanks. |
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Jeff Fusco, Photographer
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Philadelphia | PA | USA | Posted: 2:21 PM on 01.29.10 |
->> No Flash, if your in the pit have 2 bodies 70-200 and 17-35 or 24-70. starting point for me is always 250th at 2.8 1250 ISO. You want the fasted shutter speed you can get. Usually never sways far from that in major arenas. Does this always happen , no. Lady Gaga before she was big had just enough light to get 1/50 at 2.8 at 2500 ISO, KISS on the other hand was ISO 400 250 at 2.8.
Smaller arenas its all on what they have as lights. But for major shows, that is my starting point. Usually I can drop it down to 800, I usually know in the first 10 seconds. I always shoot manual exposure. I shoot RAW, but thats me. I always shoot RAW except for boxing.
You will have 2-3 songs which is more than enough. |
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David Seelig, Photographer
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Hailey | ID | USA | Posted: 2:51 PM on 01.29.10 |
| ->> I would ask if you have some primes. A 50 mm 1.4 or 1.2 on a crop camera or an 85 on a full frame, a 135 f2 is a great concert lens as well. With primes you can lower your iso and have better looking photos. I would also shoot raw but on automatic if you have a singer with a white shirt compensate with a plus one . Chimp fast and see what your shots look like if it is close in raw you will be fine. I would also go to 5 or 6 frames a second not 9 0r 10 save your buffer. |
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Chris Russick, Photographer, Assistant
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St. Petersburg | FL | USA | Posted: 2:52 PM on 01.29.10 |
| ->> Take earplugs. If you're in the pit, it is extremely loud. |
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Richard Middleton, Photographer
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North Charleston | SC | USA | Posted: 3:28 PM on 01.29.10 |
->> Ditto suggestion for two bodies. 70-200 on one and 24-70 on the other. If you are in the pit (up in the front) the 70-200 "might" be a bit too much. If you have a prime pack that, maybe a wide angle too (16-35, 17-40 etc) - you can use the wide angle to hold it out over the crowd to capture their expression (if you are going to switch lenses do it quick as the 2-3 song rule will be in effect). Spot meter and set the WB to tungsten.
If you are in the pit, be aware of your surroundings. You might have cables on the floor that you can trip over in the dark/low light. Depending on who the performer is you might have crowd surfing going on behind you, so be aware that security might be pulling people out. Besides flying people, be aware of bottles, shoes etc that might hit you. Be nice to the security guys, they have a tough job (don't make your being there make their job any more difficult.
Take a moment to read over this tutorial on concert photography: http://tinyurl.com/yxypkh It's probably one of the best tutorials on concert photography.
Pack ear plugs and have fun! |
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David Seelig, Photographer
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Hailey | ID | USA | Posted: 3:43 PM on 01.29.10 |
| ->> When I looked at that tutorial, I was amused. I made my living shooting a 85 f1.2 as a concert photographer. Look at my member page and see Bruce Springsteen 85 1.2 shutter speed 250 at 1.2 shot with kodachrome 64. 1600 iso will look a l a lot better then it did when he wrote that article but the lower the iso the better the photos will look. If you have primes use them if not well that is all you can do. I still shoot for an arena here in Idaho the Idaho Center. My website www.davidseelig.com lots of concert work. |
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Bryon Houlgrave, Photographer
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Mason City | Ia | USA | Posted: 3:59 PM on 01.29.10 |
| ->> Chris just gave the best advice. You can always shoot another concert, but you can't reverse the effects of hearing loss. |
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Chris La Putt, Photographer
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Jersey City | NJ | USA | Posted: 4:04 PM on 01.29.10 |
->> David - It's all a matter of venue location. Sometimes a venue 's lighting is glorious and almost always it just plain sucks.
I'd suggest finding pics of a show in the venue on flickr to give you a sense of how big the area is.
Look on flickr, getty, wherever, and see pics of artist from recent shows to see what's the best place to shoot.
Bring at least one prime.
Be there early and shoot the opener to get the hang of it.
1600 ISO and above - love it.
Avoid mic shadows.
Tap a guy on the shoulder if you wanna pass.
Don't do hail marys - your pic will suck. |
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Monty Rand, Photographer
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Bangor | ME | USA | Posted: 4:06 PM on 01.29.10 |
->> Thanks for all the advice here and the private e-mails I've received. I've got a 50 F1.4, and an 85 F1.2 and an 85 F1.8. I' guess I'll just take those lenses along with the 16-35 and the 70-200. I'll bring my 5DMKII, 7D and the MKIV. I'd rather more than I need. Is the 3 songs just for the headliner.......what about the opening bands, can I shot their whole show. I understand they usually play 3-5 sings, but I figure I'd use these opening acts as a little practice.
Tanks for all the tips and links.
Earplugs are the first thing I packed. |
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Chris La Putt, Photographer
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Jersey City | NJ | USA | Posted: 4:12 PM on 01.29.10 |
->> depends on the band. but usually it's 3 songs for opener and 3 songs for headliner.
bring whatever primes focus the best :D |
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Debra L Rothenberg, Photographer
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New York | NY | USA | Posted: 4:18 PM on 01.29.10 |
->> the first thing you need to find out is f you will be in the pit. 90% of the concerts I shoot these days have us at the soundboards and if that's the case, you will look foolish with an 85mm. You'll even look foolish with a 70-200.
Also-if this is at a regular arena and you are in the pit, the 17-35 will be useless as the stage is usually quite high.
Chances are you are going to get 3 songs at the most-and that will be the case for the opening band as well. I would definitely suggest you shoot the opening if they allow it so you will get the feel of shooting a concert.
Please feel free to email me if you don't want to post here who you will be shooting-chances are good that the act has already passed thru NYC and I have shot them and I can help out with more information such as lighting and where you will probably be shooting from. 3 camera bodies is way too much for 3 songs. It will be more of a pain than not
Debbie |
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Chuck Liddy, Photographer
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Durham | NC | USA | Posted: 4:27 PM on 01.29.10 |
->> debra, is one hundred percent right. I went to a concert a couple of years ago and checked with the promoter what the "throw" was going to be. it was the sound board. so I took a 400mm....there were about 15 other photogs there who really looked silly shooting from the sound board with 50's and 85's.
do advance work. you have the time. the promoter should be able to tell you what the throw will be and how many songs you can shoot. you can also check the previous venues the band has played in this tour (unless this is the opener of the tour) they hardly ever change the sets....or the lighting...the recent U2 concert as example....they change the songs around but the lighting remains the same. |
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Codie McLachlan, Photographer
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Edmonton | AB | Canada | Posted: 5:57 PM on 01.29.10 |
->> +1 Debra and Chuck.
The majority of concerts I cover for the local paper here have me shooting from the pit, which I find allows for nicer angles. That said, I shot Guns n' Roses here a couple weeks ago and they had us shooting from the mixer (if you're a short guy like me, shooting from the mixer is abysmal). I found out beforehand and brought my 300. Good luck! |
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Tim Snow, Photographer
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Montreal | Qc | Canada | Posted: 6:08 PM on 01.29.10 |
->> As Chuck and Debra said, contact the promoter and find out where you will be shooting from. You will need long glass if shooting form the board, but don't get tunnel vision...some great shots can be made from the sound board with a wide!
Ear plugs are a must, whenever I shoot concerts I wear plugs, it's just common sense. If you forget them, bunch up some TP.
2 bodies is a must, 3 is overkill. You will spend more time untangling your straps than shooting.
If you are underlensed (is that a word?), use the 7d to give you extra reach, but I have in a jam used 1/4 of a frame on a 5d MKII with great results.
Speak with the other shooters you will meet at the show in the media area, some of them are probably going to be very used to the venue you will be at and will be able to give you a staring point for settings and such. RAW and AWB are your best friends!
Have a look at my site (www.timsnowphotography.com) for lots of samples of concert shots and feel free to contact me if you have any more questions. |
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Luke Sharrett, Student/Intern, Photographer
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Washington | DC | United States | Posted: 6:08 PM on 01.29.10 |
| ->> Don't sign your rights away on a stupid photo release, and don't shoot for access (free). I did that for too long and it got me nowhere. |
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Patrick Meredith, Photographer, Assistant
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Austin | TX | USA | Posted: 6:57 PM on 01.29.10 |
| ->> FWIW, I shoot concerts with three bodies (80-200, 12-24, 35mm) and carry a 10.5, 50 & sometimes the 85mm in a think tank belt. Then again I like to be prepared for just about everything. |
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David Manning, Photographer
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Athens | GA | | Posted: 10:33 PM on 01.29.10 |
->> Remember, its art.
Be creative.
Create a good image. Make it worth your effort. |
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Andrew Nelles, Photographer
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Chicago | IL | usa | Posted: 12:36 AM on 01.30.10 |
->> +1 on Luke's advice, beware of horrendous contracts (any contract really.) Venues/artists are getting aggressive with these lately. I walked out of two shows recently (with permission from my client) that were denying access unless I signed a contract forfeiting rights to the images.
One example, a venue I shot at last week tried really hard to force me to sign a contract that limited usage to a single printed image, and no more than 30-days of web use. There was also a line that stated I would be personally responsible for paying damages to the venue for any additional unauthorized use. After arguing with a supervisor for some time they waived the contract. |
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Chuck Liddy, Photographer
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Durham | NC | USA | Posted: 1:40 AM on 01.30.10 |
| ->> cripes...sign your name as "mickey mouse" scribble it....let 'em figure that sh&t out in court...all the contracts are the same....IF you work for a large media group these fu5kers won't even try and make a fuss |
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Jon Gardiner, Photographer
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Durham | NC | USA | Posted: 1:48 AM on 01.30.10 |
| ->> Exactly!!! That's why I sign these contracts as "Chuck Liddy." Works every time... |
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Peter Wine, Photographer, Photo Editor
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Dayton | OH | USA | Posted: 7:54 AM on 01.30.10 |
->> +1 Debra, Chuck and Luke.
In addition, I'll add that in the last couple of years I've seen a growing use of what appear to be LED PAR lamps.
While these may be great for the band (or more accurately the crew) due to their lower weight and heat, they also appear to have a lower light output as well.
I tend to start at either 1/200, f4 or 1/250, f3.2 (depending on what the lighting setup looks like) and move up and down from that as needed.
We have two main arenas in the area, and I've had concerts at both that have produced light that needed 1/80 (or less) and f2.8 at 1600 ISO.
I use a 17-50 on one body and a 70-200 on the other (both f2.8.)
Whatever the song limit is for the headliner, the same will normally apply to the rest, though I've had some where it went from 3 songs for the openers and 1 song for the headliner.
Another fun trick is "the first 30 seconds of the first three songs."
Worst case is when you have three songs, and aren't familiar with the music and can't tell when a song is finished.
I always use earplugs, too. |
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Chris La Putt, Photographer
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David Manning, Photographer
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Athens | GA | | Posted: 10:15 AM on 01.30.10 |
->> This is why I've gotten away from photographing mainstream acts and generally concentrate on photographing smaller acts or friends' bands playing in a super-small, poorly lit venue.
Better access, no forms, no restrictions and much more creative pictures. Music in its natural environment, IMO. |
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Chris La Putt, Photographer
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Jersey City | NJ | USA | Posted: 12:54 PM on 01.30.10 |
| ->> David - I agree |
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Matthew Gillis, Student/Intern
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Saugus | CA | | Posted: 4:46 PM on 01.30.10 |
| ->> Ya, Definitely make sure your read any contracts carefully! Sometimes you can argue and cross stuff out. I had a couple of big concerts like everclear that were fine. But Dave Cooks contract was way to strict so I had to walk on it and not shoot it. |
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Garry Bryant, Photographer
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Farmington | Ut | USA | Posted: 12:07 AM on 02.03.10 |
| ->> Ditto on all the advice above. One thing no one has mentioned is the use of pyro and smoke. If you have a three song limit figure it will take the first two songs to get the air clear to shoot the third song. I hate this censorship that the bands & promo people make photogs go through. I understand it just hate it. Over thirty years ago use to trade poster size prints for free tickets when stationed at Austin, Texas. Film & paper had no limits for me. I shot many big name bands at the Amadillo World Headquarters, had the entire concert unhasseled. Those were the days!!! |
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Jason Myers, Photographer
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