As you may have noticed from the Photographical Madness section on the site, I have more than a passing interest in photography. Specifically, I enjoy and respect the challenges of concert photography: low-light, no tripod, unpredictable subjects in motion, and time constraints. Plus you get to see shows for free and be in the front row! Here’s some information for the budding concert photographer.

White Denim - they put their drummer up front for good reason

The “beginner” referred to in this guide is both you and me. I’m new to the art of concert photography and I am assuming you are too. The information here is directed toward the photographer/blogger on a budget shooting small to medium venues but using a DSLR (digital single lens reflex) camera. By no means is this an exhaustive guide. Where possible, I’ve provided links to other great resources.

Initial Thoughts and Considerations

Why? Answering this question will start you down the right path. Why are you shooting? Is it for a blog, print media, a personal collection, your portfolio, to market and sell? Your choice here will determine steps down the road. Shooting for your portfolio will require more post-production than shooting for a blog. Covering a show for print media or a blog may require pictures of the crowd. Aiming to sell your pictures presents legal requirements you need to think about. Here, we’re mostly talking about shooting freelance for a blog or website, but the tips here can be applied broadly.

Getting Access: For small to medium venues, you may not need a press or photo pass to bring your camera and take some shots. However, contact one or more of the bands and ask permission to take pictures. This is made very easy through MySpace or the band’s website. They’ll usually offer to put you on the guest list, with the expectation that you’ll post or provide them with the pictures. Most smaller indie bands are more than happy to have you come out, so don’t be shy about contacting them. Just be sure you have something to offer; don’t ask to be put on the list if you are not going to promote the show or post the pictures. You may want to contact the venue as well, but so far I haven’t run into any issues as long as I am on the guest list and don’t claim to have guns and knives in my camera bag.Plan accordingly so you won’t have a problem when you get to the show.

Photography overview: When I first started with digital photography, I had a vague idea of the terminology and technical details but I needed to brush up. Before you really get rolling, read up on the basics. Things like ISO, aperture, shutter speed, f-stop, depth-of-field, and metering are important to know. Chances are, you’ll want to shoot in full-manual mode and it will be necessary to have this knowledge at a minimum.

Lauren, the photogenic ball of hair from Ume - she tends to flail around on stage, requiring high shutter speeds.

Equipment

Overview: Everyone is interested in the equipment; when you rub elbows with other photographers, eyes dart to your camera and lens and conversations start about what gear you’re toting. Online, people compare and debate the virtues of camera bodies, lenses, attachments, etc. It’s become the unfortunate measure of the photographer. Let me tell you, very little of it really matters when you are at the show. At a minimum, you’ll want a DSLR camera and one or two lenses, but it isn’t a requirement to have professional equipment to take professional shots. For our purposes, what is necessary is a good eye, planning, and knowledge of the equipment you are working with. That said, here’s some equipment information to help you make a slightly more informed choice on what to get.

If you are just getting started, be ready to spend about $1500 for your first set of equipment.

Camera: I shoot with a Nikon D90. I’ve found it to be very reliable and well-suited for my purposes. I still get a little tech envy when I see the true professional camera bodies at shows, but I’ve been very happy with my “prosumer” model. If you are looking for a good digital SLR camera body, look to the prosumer lines of both Canon and Nikon. The newer models (Canon 50D and Nikon D90) offer a great set of features for the money. You can find the previous models (Canon 40D and Nikon D80) relatively cheap now that newer models are available.

On the most basic level, you are looking for a camera that allows you to shoot in full-manual, aperture-priority, and shutter-priority modes. Additionally, you’ll want to be able to use different lenses, more on those below. Do some research online, go to the store and test out the cameras you are interested in, and then make a decision.

Lenses: Once you get your camera, toss aside the lenses that came with it. More than likely, they are too slow for your needs. The kit lenses tend to be good for full daylight shots; when you get to concert photography you really need “fast glass”. You’ll want lenses in the f/1.4-2.8 range. This is the relative aperture of the lens and translates into the amount of light the lens lets in. A larger aperture (lower f-number) means more light in a shorter amount of time. More light means a faster shutter speed which, in turn, means brighter pictures with little to no motion blur. The faster you are able to shoot in low-light, the better so the lower the f-number the better (and more expensive) the lens for music photography.

For small to medium venues, I recommend carrying two lenses. The first is the old standard, the 50mm f/1.4 prime lens (50mm f/1.8 works as well). You’ll be using this lens forever: it’s very fast and cheap. It’s a “prime” lens meaning it has no zoom capabilities; at small to medium shows you won’t need to zoom much as you’ll be close enough to the action. The one downside to this lens for the beginning photographer is the shallow depth of field. This means that much of the picture will be blurry; this is good for portraiture as you want the subject to the be the focus of the shot, and concert photography is really low-light candid portraiture. In general, you’ll need very sharp focus to get good pictures but with this lens it is even more important. Aim for the eyes, focus, and take the picture. Rarely will you want something other than the subject’s face in perfect focus.

The second lens I would recommend would be a fast all-purpose zoom. This will be your “expensive” lens but will allow for a lot of flexibility in your shooting. Nikon makes a 24-70mm f/2.8 lens and 70-200mm f/2.8 lens that will work. The former is a good all-purpose lens that will allow for some wide-angle shots as well as a small bit of zoom. This is good for shows where you can get right up to the stage and the performers aren’t far away. The latter is for close-ups and offers a good bit of zoom with a fast aperture. Canon makes similar lenses for their cameras. You’ll have a better idea of what you need depending on the shows you expect to shoot. When you move up and shoot bigger shows, you’ll see a need for longer zoom as you find yourself further away from the performers (stages tend to get higher).

As you get a feel for your camera and gain more knowledge, you’ll no doubt find more lenses to drool over and save up for. Whatever you get, make sure it’s fast.

Speak at The Mohawk - avoid taking pictures of people actually singing. It tends to make them look weird; wait for the right moment.

Camera Settings: This is another biggie and garners a lot of online discussion; “What settings should I use for X?” are common questions in discussion forums. Unlike the make of your camera, the camera settings really do matter. You want to make sure the camera doesn’t work against you when taking pictures under challenging conditions.

First, make sure you set the camera to shoot in RAW mode, use single-point auto-focusing and metering, and turn off your auto-focus indicator light. Definitely refer to your user’s manual to figure out how to do this with your camera.  RAW mode is preferable to shooting JPEGs as you can adjust things like the white balance after you take a shot. Single-point auto-focus and metering will ensure that you are focusing on one point instead of parts of the whole composition and will make sure that the subject doesn’t get washed out. It is especially important to use single-point metering. If you don’t, the camera will try to balance the lights and darks in the picture automatically. This is disastrous when the background is very dark and the subject is well-lit by stage lighting. The last setting, turning off the AF indicator, is a courtesy to the musicians. It’s that little red light that shines before you take a picture; turn it off so you’re not shining a light at the performers.

Get used to shooting in manual mode. This means you will have to tell the camera what shutter speed and aperture to use. This was tough for me at first; I was used to the camera doing all the work. Now it is second nature and improves the shots I am able to get. Typically, I set the aperture to be wide-open (e.g. f/1.4 for the 50mm f/1.4 lens) and then fine-tune the shutter speed at the show. A good introduction to using manual mode is to practice with shutter- and aperture-priority modes first. Get a feel for different shutter speeds and apertures before the show. Don’t let the shutter speed drop much below 1/60 or you’ll have a lot of motion blur. Try to keep it around 1/200 or 1/150. This will require a high ISO, so keep an eye on the noise.

At the show

Overview: This is the fun section. You’re on the guest list, you know your camera, and you can happily forget all those Canon vs. Nikon flamewars. Enjoy the music, have fun taking pictures, and consider the following.

Pack light: At times, you’ll be weaving through the paying general public to get a new angle. Don’t be the one that knocks everyone over with your bulky bag. Take only the essentials and leave the rest at home. For our purposes, pack one camera, two lenses, earplugs, your hotshoe flash, and a couple memory cards (always bring at least two!).

Get there early: For my first show, I arrived an hour early and took pictures of the empty, lit stage as well as the performers during sound check. I got some odd looks but it paid off. I was able to adjust my settings to be perfect for the venue. That particular venue uses a lot of red stage lighting (which you will learn to hate with fanatical passion) and only properly lights the performer on stage right. I knew where to camp out to get the best shot. As you get more comfortable with the whole thing, you can arrive a little later.

Using a flash: Don’t do it, it’s disruptive and isn’t necessary. You should go ahead and pack your flash anyway for a couple reasons. First, if you

The Great Nostalgic CD Release Party - notice the shallow depth of field. The guitar neck is not in focus but his face is.

are taking pictures from the side of the stage, one or two flash shots will not be overly annoying. If you are in this situation, use the flash very sparingly. It may not be shining directly into anyone’s eyes, but it is still disruptive. Another reason to pack a flash is to get some candid crowd shots. Between sets, you might want to attach the flash, angle it up, and snap a few pictures of various groups of fans. This becomes more important when you are covering an event. Promoters and others want to see the turnout and other aspects of the show, not just the performances. You may never choose to go this route, but it’s good to have a flash handy just in case.

Don’t be annoying but don’t be shy: This is the balance you need to strike while at the show. Don’t distract from or disrupt the performance, and don’t block everyone’s view for more than is necessary. Get along with other photographers and respect their right to try to take the best picture possible. At the same time, don’t be shy. Get close to the performer to get the shot. Stand up and block the view, but only for a second. Move around a bit to get a better angle. You are there to take pictures; there is an unspoken understanding between music fans and music photographers. Just by having the camera around your neck, you are afforded certain liberties and concessions. Don’t over-extend that tacit agreement, but don’t be afraid to be assertive to take the shot.

The music: As I shoot more and more shows at smaller venues, this becomes more and more important. Familiarize yourself with the music of the performers before the show and take a moment to do the same at the show. Larger shows often require photographers to take pictures for the first three songs only. A huge benefit of taking pictures at a small show is that you can take pictures all night. Don’t feel like you need to take a hundred shots before the end of the first chorus of the first song. Get a feel for the performers and music; you’ll be able to predict when something cool is about to happen.

Quick anecdote time. I recently shot a show at a venue with which I am familiar, with three bands on the lineup. I was aware that the lead singer from one of the bands likes to turn his back to the audience and jam with the drummer. I learned this by seeing video of them playing as well as by having seen them play before. After taking a few shots from the front of the stage, elbowing for room with other photographers, I moved around to the back of the stage. I was all alone back there, waiting. Sure enough, the lead signer turned around and started moving toward the drummer. I was able to snap shots that no one else was able to get.

Focus: This refers to two things. First, keep both eyes open when you are looking through the viewfinder. A lot of people mistakenly close one eye while searching for a shot. I tend to close one eye only when fine tuning a composition, and then only for a moment. Second, focus refers to the choice to use auto or manual focus. I find more success when using auto-focus than manual, but your results may vary. Subjects move around the stage unpredictably. You may have the singer in perfect focus as he sings into the mic. The second he steps away to perform an amazing guitar solo, he is out of focus and you need to adjust. For me, auto-focus helps in those situations.

The Boxing Lesson at INsite Night

The shot: Thinking creatively and having a good eye will get you a long way. Get a feel for the performers and think about the shots you are looking for. If they are a fast moving rock group, you will need use a higher ISO and fast shutter speed. This will produce pictures without motion blur but with a lot of “noise”. A stationary performer will allow you to fine-tune your manual focus and take a picture at a slower speed. Wait until the performer does a signature move, steps away from the mic, or interacts with the crowd. These shots will always be your best. Very few of my best pictures were take while the performer was actually singing. Take a burst of pictures at a time by holding the button down. That way you have more to choose from.

One thing I see a lot of is photographers previewing every photo they take in the LCD screen of their camera. My advice is to not do this. The more time you spend pondering your shots, the less time you are spending looking for new, better shots. Wait for a break in the action, then scan some of your pictures and delete the obvious ones.

Back home

My process: The very first thing I do after I upload my pictures to my computer is delete 60-75% of them. More isn’t better in concert photography. Delete every shot that is not in focus, has too much blur, is too noisy, or is just boring. You’ll get a good feel for this very quickly. While scanning the photos for delete-worthy ones, make note of the best shots. These are the ones you’ll come back to to fine-tune later. After I do this initial scan, I leave them alone for about 8 hours. Typically it is because the show ended around 2am and I want to go to bed. However, even if I take shots at a daytime show, I let them sit for a few hours after my initial scan.

Come back to the pictures later and scan them again. You should narrow down your shots to the best few. Don’t get too attached to a photo that would be great except for a glaring, insurmountable fault. I have to remind myself of this, but it pays off. For me, I usually end up with 3-4 shots of each band. This is where the real work starts.

Photoshop: I am not a fan of heavy editing in Adobe Photoshop. I tend to just open the images in PS to crop, adjust the white balance, apply noise reduction, and tune the highlights and shadows (this is why you shot in RAW format). I am a firm believer that starting with trash means you’ll end with trash. Start with a well-framed, well-exposed, in-focus picture and you will not need to doctor much it in Photoshop. Even this small amount of adjusting takes a lot of time. Photoshop has an amazing array of features and you can quickly lose hours at a time perfecting a small group of shots.

If you don’t want to buy (or, let’s face it, pirate) Photoshop, you can use Google’s Picasa software. This is free software and you get a very limited set of features, but you’ll be able to tune your images a bit and get a feel for post-processing. I’m sure there are other good alternatives out there as well.

A word on noise: Higher ISO settings are necessary for low-light photography. This means more light at the cost of “noise” in the picture. Noise can be reduced using software, but it sometimes ruins an otherwise good picture. A trick is to take a noisy picture, convert it to black and white, and mess with the contrast. It can salvage a picture, but don’t overuse it. We learn to live with some noise due to the extreme conditions we shoot in.

Posting the pictures: For this level of photography, you won’t need to worry about model releases unless you are determined to try to sell the pictures. As a courtesy, touch base with the bands to thank them for letting you shoot and to let them know where to view the pictures. I offer to send higher-quality versions of pictures to each band and use the communication as a way to network.

Your Kisses Cause Crashes, not a great shot but it offers a different perspective.

Good luck! Taking photos of musicians is both extremely frustrating and rewarding. Once you start, you may find it difficult to stop. Feel free to leave comments with any questions or corrections.

More Resources
Concert, Stage, and Low-Light Photography – A Tutorial by Steve Mirarchi

OneLouderPhoto.com

Boudist – Tips for Live Music/Concert Photography