There are very few articles about concert photography in RuNet, and there are only a few good ones.

One of these really useful and interesting articles was co-written by four concert photographers:

Ksenia Marushkevich ( balsara), Askar Ibragimov ( _tsukasa), Alexander Voitekhovich ( blyg), Vladimir Astapkovich ( astapkovich_v).

The article turned out to be in three parts and tells about all aspects of shooting concerts - from obtaining accreditation, preparing and conducting shooting to processing concert photos and presenting the results.

The first part of the "Concert photography" cycle is devoted to general information, accreditation and discussion of the photographic equipment necessary for work.

Introduction

This article is addressed to those who have decided to try their hand at concert photography, but we also hope that experienced photographers will be able to learn something useful from this article.

It may seem that filming concerts involves communicating with the stars of the scene, being known in the photographic circles and being published in the press.

In this article, we will try to tell how this representation is true, and what can be useful for a beginner concert photographer.

So, be patient, because it is one of the main qualities needed in concert photography.

Most of your time will be spent not on shooting and communicating with the stars, but on waiting for the response of the promoter, the start of the concert, the performance of the next group. Add to this the need to find the contacts of persons responsible for photo accreditation, the fuss associated with the editorial requirement to send everything immediately, and the heavy bag that you will have to carry at the concert for a couple of hours, and sometimes all day, and you will get a rough idea of ​​​​the working day of a concert photographer.

If, despite not all these difficulties, you have not lost interest in this activity, then we will begin our description from the very first step.

Accreditation

First of all, you need to get permission to shoot at the concert. Sometimes it is enough to pay extra, for some small concerts you can just come with a camera.

However, in most cases, you need to assume that you will need accreditation, that is, special permission. It most often gives the right to attend a concert for free and shoot from a “photopit”, an area in front of the stage, fenced off from the audience. How do you know who to ask?

To get started, look for information about the organizer of the concert and his contacts. They are known to responsible persons in the club or hall where the concert will take place, they are on the website of the agency or group, and finally, the performers themselves can report it.

The administration of the concert hall, the organizer of the performance and the performers have the right to allow you to film. While an obscure band might just be happy to have someone take pictures of their concert, as the group's fame grows, so does the number of people who want to get accredited.

Accreditation is available for most events, but your application must be convincing. Have a gig review site prepare a set of snapshots and a short report for them. In this case, of course, you need to show existing photos to give an idea of ​​\u200b\u200byour capabilities.

These do not have to be concert shots - if you take high-quality night photos and portraits, then for many thematic sites this experience may be enough. Remember that the organizers who will be sent a request for your accreditation pay attention to whether you are accredited from a large print publication or a small site.

In the case of large concerts and festivals, only a tenth or even a hundredth of requests for accreditation receive a positive response, so small online or print publications that do not yet have photos or reports from such events have a rather poor chance. Concert and festival organizers may also have different target audience preferences, with some giving accreditations primarily to local journalists, while others prefer international publications.

Highly specialized festivals may not be interested in photographers outside of a limited range of publications at all. For the organizers, the purpose of accrediting reporters to an event is, first of all, to widely and, if possible, positively advertise the project.

What to do if you couldn't find a website interested in your work, or another reporter is already accredited by a publication you know?

It is possible that the organizers of the concert or the band itself may allow you to shoot in exchange for providing pictures for the band's or club's website. In this case, prepare a short letter with the address of your page (blog or photo gallery on a popular resource) and a description of yourself.

Write, for example, that you are a serious enthusiast of concert photography, a fan of the work of this group and would like to capture this concert for the needs of the group or organizers. Give some links to your best photos.

A link to a poorly sorted set of photos from the last few years should not be given - the organizers will have neither the time nor the desire to search for really high-quality photos, so all indicative material should be located directly at the address of the specified page, and photos of famous bands, if any , should be visible first.

There are no special rituals and formalities in the process of applying for accreditation - it is important to simply follow common sense and business logic, not push too hard on the person in charge and be ready to calmly accept a refusal.

A reasonable format of the letter can be represented as follows: "I, such and such, would like to receive accreditation for such and such an event from such and such a publication." You can also briefly describe the main theme of the site or magazine, circulation or attendance statistics, although this information is not always of interest to the organizers. At the end, give links to your best photos and, of course, your contact information. Often publications provide an accreditation request template.

In case of a positive answer, do not forget to send the result to the group and your publication as soon as possible. Good photos liked by the musicians may appear on the site, and if you are very lucky, then on posters or booklets, which can contribute to further successful communication with this team and the concert organizer.

It is worth mentioning that in most cases, concert photography does not bring material benefits. More often than not, you will be working for free passes to concerts and possibly backstage.

Money can bring: a shooting order from a group; publication in a commercial publication paying royalties; the use of your photos in advertising and group products. Publications on sites containing concert reports, and posting pictures in low resolution on band sites, as a rule, are not paid.

However, in any case, when posting pictures, your name and coordinates should be indicated, which can be a good advertisement for you as a photographer. Do not count on universal recognition from the very beginning of your career, on the fact that very famous bands use your picture on their page or on a poster.

If your case involves payment - do not cheap. You spend a lot of time and effort on getting pictures, and it would be wrong if someone else earns money on your photos, and the person ordering the photos gets used to getting them for free.

Assess what your customer can really offer you and negotiate - the price of a picture can vary greatly, depending on whether your photo is used in a small note or on a disc cover. But, on the other hand, do not be greedy - giving a well-known musician a high-quality picture, you will get his location and the opportunity to work with him further.

Photo equipment and other useful things

If you are serious about photographing concerts regularly, then when choosing a camera, you should pay attention to the noise level at high ISO values.

One of the main enemies of concert photography is weak and rapidly changing lighting on the stage and, as a result, the need to use high sensitivity when shooting, or increase the exposure of the image in post-processing.

When looking for camera information and noise tests, you can use the review pages and forum of dpreview.com, to which dxomark.com has recently been added. Don't just rely on ads promising low noise up to a certain sensitivity - that's half true, as when you try to lighten the shadows, the noise will make itself known.

Low noise at high ISO settings allows you to take photos even in the smallest amount of light. The guitarist standing at the back of the stage was photographed with a Canon 5D, 200/2.8 by 2.8, 1/200, ISO3200.
Photo: Battlelore
(c) A. Voitekhovich

The second thing you need from a camera is the ability to shoot bursts at high speed and a large buffer. At concerts of some especially frisky performers, even three frames per second may not be enough. Also, pay attention to the actual write speed to the card, as it can be a very important factor when shooting bursts in raw format.

It is well known that memory cards never a lot. On average, you should expect to start with 200-300 shots for each group, and if you're lucky to shoot the entire concert, then much more.

It is important that these are fast and reliable cards - reviews on them are easy to find on the net. The recording speed affects the efficiency of the camera buffer release from the next series. As a rule, manufacturers of expensive well-known cards, such as Sandisk and Lexar, justify their prices.

If there is not enough space left on the card, then it is better to change it before the performance of the next group, instead of hastily changing during the performance.

It also does not hurt to have a spare flash drive or two on hand if the main one runs out during the shooting process. Think in advance how you will change the cards in a photopit, and how to store them - in your pocket or photo bag.

If pockets seem more convenient to you, then keep filled cards in one and blank ones in the other. It is desirable that the pockets close securely, as when you move around in the photo pit or around the festival grounds, there is a chance that precious footage may fall out of the open pocket.

To store cards on sale, you can find, for example, bags for two flash drives that cling to a belt on a ring, plastic boxes, pockets and boxes.

An alternative to a large number of flash drives can be the so-called "photo bank"- devices that are a hard drive with a battery and a card reader. Autonomous and allowing you to free up a flash drive in a few minutes, they can quite compete in price with several expensive flash drives, while having a noticeably larger capacity.

When choosing a photo bank, you should definitely find out how fast it will read cards and whether it supports your card modification. Many cheap photobanks will copy large volumes for hours, while 20 Mb / s or more will be a good indicator of speed. Obviously, battery life also matters.

Photobanks are both simple, with a primitive screen, which displays information about the percentage of copied, and improved, allowing you to copy at a speed of about 40 Mb / s and view pictures in raw format, although the speed of viewing raw files is rather low and the screen is much inferior in quality to the screen cameras.

Photobanks may be of interest primarily to people who need to shoot so much that two or three flash drives are clearly not enough. The second case when it is worth thinking about purchasing a photo bank is special trips to multi-day festivals, when there are not enough laptop hard drives or the weight of a laptop is critical.

During multi-day festivals, like the WGT in Leipzig, the number of photos taken can run into the thousands. In such cases, choosing the right way to store photos is very important.
(c) A. Voitekhovich

One of the useful little things that you should always have with you - cleaning pencil for optics, also known by the brand name Lenspen.

Sweat, water, alcoholic and non-alcoholic drinks can get into the lens from the stage and from the audience. In this case, you will have something to do while waiting for the next group.

If you are going not just to a concert of one group, but to a festival, and plan to change lenses during the shooting, then by all means take a blower to blow the sensor with you so that you can quickly clean the camera sensor. This may seem strange, as many photographers are intimidated by the mere thought of cleaning the sensor in the field, but it is often necessary.

Outdoor festivals are usually held in the summer, and in dry weather there is a lot of dust in the air, so there is a danger that when you change the lens, a mote will fly into the camera, which will land on the matrix the next time the shutter is released and thoroughly ruin your photos. In this case, you will need a photo booth. Against small light specks, it most often does not help, rather, on the contrary, it can add new ones. But small dust particles will not be noticeable in the photographs, and large and heavy ones are removed with a pear very well.

When working outdoors, especially in windy, dry weather, we advise you to check the cleanliness of the matrix after the performance of each group. Let us briefly recall how to do this: take a sheet of white paper, set the camera to the maximum aperture value and turn off autofocus. Now take a picture and check if there are dark spots from large specks in the picture.

Small dots in these conditions should not bother you - since you will most often take pictures with an open aperture, small dust particles will not be visible in the photographs, you can deal with them when you return home and you can read the matrix in more convenient conditions.

If you don't have a piece of paper handy, you can replace it with a more or less evenly painted wall. After this check, do not forget to turn autofocus back on.

The Mera Luna festival takes place on a former airfield covered with sand and dry grass. In hot weather, it is very likely that dust will get on the matrix when changing lenses.
Photo: Mera Luna 2008
(c)A. Voitekhovich

Is it worth using protective filters? Up to you, but keep in mind that they can reduce the contrast of shots and give additional glare from hard light hitting the lens.

If you have a photopit, you can still think about the need for a protective filter, but if you shoot from the crowd, in a dark room filled with a fun and drunken audience, it is simply necessary.

Don't skimp on filters. In concert conditions, the difference between cheap filters that give glare and low contrast in pictures and expensive ones that affect the result is very noticeable. In addition, the latter attract less dust, which, as already mentioned, can be quite a lot in outdoor concerts.

Thus, the purchase of a high-quality expensive filter is more than justified.

Is it necessary blends? For some lenses with prominent front lens design features, this is the only way to avoid flare and side flare.

Of course, you can erase the glare later or try to muffle it during processing, but such retouching is a thankless task, boring, requiring skill, and, of course, it is easier to immediately eliminate possible glare.

In addition to light protection, the hood serves as an additional protection for the front lens of the lens from damage. Blends are plastic, iron, rubber, and even home-made, which can be cut out of paper according to the patterns available on the network.

The advantages of rubber hoods are that they can be quickly folded and unfolded and do not need to be removed from the lens to put on the cap. They have one drawback - they harden in the cold and flexibility returns only after fifteen minutes.

Plastic hoods are less convenient to transport and store, but, being a rigid extension of the lens, they better protect against mechanical impacts. As a rule, they are designed so that they can be safely placed on an inverted lens, which is useful when quickly changing lenses in the field.

At many concerts use outbreaks prohibited by the organizer, usually this is negotiated upon receipt of accreditation.

If there is no such restriction, or you intend to photograph not only the performers, but also the audience, then it does not hurt to take an external flash with you. Although most cameras have a built-in flash, its capabilities are very limited.

By adjusting the power and direction of the external flash, you can illuminate performing artists. This can be especially useful if there is no fog on the stage that scatters the light and if the performers are standing at the very edge of the stage when the spotlights illuminate them vertically from above, leaving their faces almost in shadow and creating deep shadows.

A flash can also be useful when shooting outdoor concerts, when the bright sun casts shadows on the performers.

When using flash, it is important to remember that it should not be the main source of light, its influence should not distort the mood created by the lighting in the room.

To do this, the flash must be set to minus two, or even minus three exposure levels, or minimum power. It also does not hurt to use diffusers, which come in different types - from a simple matte plate built into many flashes, to plastic nozzles and small softboxes.

At noon, with the sun only slightly overcast, the performer's face was in shadow, and only with the help of a flash set at minus two stops was it possible to get an evenly lit picture.
Photo: Project Pitchfork
(c) A. Voitekhovich

In clear weather, when the direct rays of the sun fall on the performers, faces can be overexposed, and dark clothes merge into a solid spot without structure.
Photo: My Dying Bride
(c) Xeniya Balsara

When working in low-light clubs on stage, flash can be used for interesting effects.

In this case, you need to set a slow shutter speed on the camera, set the flash synchronization to the second curtain, and increase its power. The flash will fix the performer in motion, and the blurred traces caused by the slow shutter speed will add dynamism to the photos.

When using TTL flash units that use a pre-flash to measure the amount of power needed for the main flash, problems can arise under frequently changing or pulsing lighting: the pre-flash can measure one light, but the light on the scene will be completely different during the main flash.

In this case, you can try to use manual flash power control, or put up with the fact that in some photos the flash will either overexpose the motif, or its effect will be completely invisible.

You should definitely think about what photographic equipment will be worn in - in a bag or backpack. It is more convenient to get lenses and cards from a bag in a photopit, and it is more convenient to carry a backpack. There are hybrid varieties that can be used both as a bag and as a backpack.

Essential points - the portable storage of your photographic equipment should be convenient for quick use and provide protection from kicks, drops, spills of all kinds of liquids and rain.

The bag and rucksack you use to store your gear isn't always handy at a gig. If the amount of equipment that you take with you is small, you can use the photo belt, which is convenient because it does not put pressure on your back.

This factor should be taken into account at events lasting several hours and with limited mobility in the hall. It is unlikely that the audience will be pleased by a person who will wade through the crowd with a bag the size of a small chest, even if driven by a sense of beauty.

In addition, it is easier and faster to get equipment out of the photobelt, and it is also more convenient to change lenses in the photopit with it. Therefore, it is worth considering in advance what equipment you should take with you and how to place the equipment within the bag or in the photo belt.

If you have one camera and several lenses with you, it's best to leave the most commonly used lens on the camera and remove the remaining lenses.

If you have two cameras with you, then you can screw on two of the most commonly used lenses, for example, a wide-angle and telephoto, and use the desired camera, depending on the development of actions on stage and in the hall.

Since it is quite tiring to carry two heavy cameras with heavy lenses around your neck for a long time, you can think in advance which camera you want to use most often. Hang this main camera around your neck, and throw the second strap over one shoulder. In this way, you will reduce both the strain on the neck and the chances of the cameras hitting each other.

First make sure that the camera does not slip off your shoulder and that there is enough light in the photo pit so that you do not trip, since the camera hanging around the neck will be the first to survive.

Choice lenses many articles have been devoted to concert photography.

Zooms are convenient because they instantly change the focal length, but they have several significant drawbacks - size, weight and the lack of zooms brighter than f / 2.8. Quite typical representatives of this family are 24-70 / 2.8 and 70-200 / 2.8.

Lenses darker than 2.8 are of little use for indoor concert shooting. Fixed focal length lenses can be sharper wide open, produce more beautiful blur, and are smaller and lighter, though often not much cheaper.

Their main advantage is the possibility of adequate exposure in low light when aperture 2.8 is no longer enough.

The main drawback of these lenses follows from the name - changing the focal length is impossible, and situations on the scene can change very quickly.

If it is better to use zooms at concerts with good lighting or outdoors, then what lenses should be taken with you to a concert with difficult lighting should be decided depending on the characteristics of the lighting, the behavior of the musicians, the presence and size of the photo pit, and other conditions of this concert.

Photos taken with wide-angle lenses distort the proportions a lot, but can thus add dynamics to the picture. In photographs taken with a telephoto lens, the proportions are more natural, the performer can be captured in more detail and his emotions during the concert can be better conveyed. The first photo was taken with a focal length of 200 mm, the second - 17 mm.
Photo: Eisbrecher
(c) A. Voitekhovich

The use of perspective distortion at a wide angle can not only add dynamics, but also significantly enhance the image of the performer.
Photo: Sotajumala
(c) Askar Ibragimov

In addition, a wide-angle lens will capture interesting lighting effects and create a sense of space in which the musician is located.
Photo: Before the Dawn
(c) Askar Ibragimov

A telephoto lens is often used in filming where it is required to effectively combine two shots in the frame.
Photo: Alice
(c) Askar Ibragimov

It rarely happens that, at the request of the artist or due to the arrangement of the concert hall, photographers are allowed to enter only one shooting area, which is located quite far from the stage.

In this case, it will be extremely difficult for you to do without a longtom - a lens with a focal length of 400 mm or more. Therefore, if you know that you are going to a hall where they will not let you get close to the stage, do not take extra equipment. Telezooms 70-200 and 300-400 mm will be enough.

The first lens will allow you to shoot wide shots, and the second will help with large and medium ones. This is the case when you can still come in handy with a monopod. For your convenience, it is best to screw a 70-200 mm camera onto the camera, and attach the folded monopod to the longtom.

With experience, once you get used to super telephotos, you may not need a monopod, but it's best to have one handy just in case.

Sometimes on the set you just can’t do without a longtom. Only a focal length of 600 mm allowed us to capture a close-up of the artist
Photo: Vanessa Mae
(C) V. Astapkovich

Don't be discouraged if you're not allowed to shoot near the stage. With only a telezoom of 70-200, you can take good photos from afar.
Photo: Eagles
(c) Xeniya Balsara

At the Lacrimosa concert, security personnel for some reason did not allow photographers to enter the photo pit. With a focal length of 200 mm and a camera raised above the heads of the audience, it was possible to take photographs from the depths of the hall.
Photo: Lacrimosa
(c) A. Voitekhovich

However, the aforementioned situation is fortunately quite rare for most live shoots. monopod- an unnecessary thing. To freeze the movements of speakers, shutter speeds of the order of 1/200 are required, and almost all lenses used in concert photography allow you to shoot handheld at this shutter speed.

In addition, it will be problematic to set up a monopod in a merry crowd or in a small space in a pit where, besides you, there are other photographers with bags.

We also note that the monopod is a long heavy object and may simply not be allowed into the hall by the guards.

Finally, be sure to have earplugs. This prop is actually no less important than the camera and memory cards. Filming takes place in a noisy hall, moreover, directly under the speakers.

Preparing for shooting. Before the concert. Shooting

Yulia Raskova is a young photographer from Krasnoyarsk specializing in concert photography. In a fairly short time, Yulia managed to become a staff photographer for the Grand Hall Siberia concert hall, as well as an author of publications in various publications, including Foto & Video magazine. According to Yulia, photography not only does not distract her from music, but also helps to take a fresh look at the work of her favorite musicians, and she has developed mutually respectful relations with fans who interfere with many other photographers. About how not to get into a slam at a concert and how to convey the energy coming from the stage as much as possible in photography, Yulia tells the readers of Nikon World.

— How did you become a photographer and when did you start shooting concerts?

I am a lawyer by training, but life has led me to photography. My father and grandfather were fond of photography, from childhood I saw a camera at home, it was not something special, but an ordinary, but very important part of my life. I have been drawn to visual art since high school, and especially photography, as an opportunity to capture a fleeting moment in my own way, giving it my own thoughts and emotions. I began to seriously engage in photography during my legal practice, and the emphasis was on people and events. It is interesting for me in photography to this day. I just went out of the house and took pictures of everything that in one way or another caused an emotional response, a desire to press a button. Later I was attracted by photo studios, first of all by the opportunity to work with light: in the studio it was possible to study light, to illuminate subjects in one's own way, to achieve various effects thanks to various lighting schemes.

However, I was still attracted by life, events. I began to attend concerts, because with my work schedule of eight hours a day, free time was only in the evening, and in the evening there are mainly parties and concerts in the city. That is, it was for me the most real path to what I love to do more than anything in the world - photography.

Then I shot more for myself, but at the same time I analyzed the pictures and worked on the mistakes. The final desire to devote himself entirely to concert photography took shape after working with actor Vadim Demchog on his tour in Krasnoyarsk. During our cooperation, I took a lot of photographs on radio and television, filmed the performance of Vadim Viktorovich "Harlequinade", backstage and rehearsals ... I had to shoot literally 12 hours a day! There was almost no time for sleep, but I gained important experience of interaction between a photographer and an actor/musician, I learned a lot about how shows are made.

What genre of music do you prefer to shoot?

— I really like to shoot creative and talented people. Perhaps this is my main priority when choosing a shoot. A talented guitarist can play electric guitar in a rock band or come with a solo concert and play acoustic parts - the genre is not as important to me as the fact that a really talented and dedicated person works on stage. There are a lot of musical genres, artists of a certain genre are usually united by a recognizable style of performance, lyrics, and musical sound. If you still try to highlight your favorite genre, then it is rock in the broadest sense - both traditional and alternative, including metal, post-grunge. The performances of rock musicians are always distinguished by frenzied energy, crazy feedback from the stage, and the emotions of the fans. Plus, some rockers look colorful. Such performers are characterized by expression, increased performance dynamics, special sound of electric guitars and drums.

There is a point of view that rock music is not just a musical genre, but a sociocultural phenomenon of the 20th century, which gave rise to many different subcultures. In this sense, when photographing such concerts, one or another subculture invariably penetrates, which, as a photographer, cannot but be interesting to me. At such concerts, I try to photograph not only the musicians, but also the audience, their interaction with each other, their reaction to what is happening. Spectators usually favor being photographed, posing and often even asking to be photographed. It is quite difficult to do this, because it is not easy to keep track of what is happening in the hall and on the stage at the same time, but you get used to such shooting conditions, and over time a habit and observation are developed. After all, a concert is not only musicians, but also the energy of the audience.

- And yet, it happens that the fans interfere with filming?

Fan behavior varies greatly, and their influence tends to depend on the location of the shoot. For example, we filmed the group 30 Seconds To Mars from the center of the large hall of the Sports Palace in the area of ​​​​the sound engineer's console, the entire fan zone was filled with people who raised their hands, blocking the entire view. But what to do, people come to the concert to have fun, and not to think about the photographer. Under these conditions, my task is to be able to seize the moment and make decent shots. Sometimes you can turn such a course of events in your favor and create an interesting, iconic composition, emphasize the emotional background of the frontman. For example, if the fans' hands are flooded with a red spotlight, then by setting the focal length of 200 mm, you can get a red frame around the frontman dressed in all black, which, combined with his stern look, will give a unique shot.

In more cramped shooting locations, such as nightclubs, people, on the contrary, try to help, skip ahead. I remember a case when at a “hot” Ill Nino concert there was a terrible slam (this is the slang term for a crush of fans), and a completely unknown young man stood behind me and held back a crowd of girls who could easily crush me. We were strangers, I didn’t ask him for anything - he just did it himself.

It often happens that in a nightclub you need to go to the stage, and there is a dense crowd in front of it. In this case, people, especially young people, always let pass, even help to pass, give up their seats, move around. In such cases, a simple courtesy helps a lot. But, of course, you should not expect a good attitude if you behave ugly with people, rudely make your way through the crowd, push everyone away, obscure the view with an icy expression on your face. Such behavior can cause dissatisfaction with others and complaints from the organizers, and this is fraught with the loss of accreditation for concerts in the future. People came to the concert of their favorite artist to relax, for them it is a holiday, and you need to treat it with respect. Then you will get not only high-quality pictures, but also gratitude from people for these shots.

- Do you have any favorite bands?

— I have never been a fan of any group or musical direction, preferring to listen to music according to my mood at different periods of my life. But simply listening to music is incomparable in terms of energy with a personal presence at a concert - especially if you have a camera in your hands.

As a rule, the performances of certain musicians make a strong impression on me precisely after photographing this performance, the camera here can be compared to a strained nerve, through it everything is felt more sharply - all the emotions, the work of the artists. I used to listen to music at a concert, getting a big charge of emotions with it, and now headphones no longer bring as much pleasure as before.

Quite often I communicate with the musicians before the start of the concert. It can be as much as talking eight hours a day, or just exchanging a few words in the dressing room or at the soundcheck before going on stage. Each musician for me is first of all a person who loves his work and gives himself completely to it so much that they devote their lives to it, before my eyes, here and now. It's impossible not to fall in love with this!

What platforms do you like to work on?

“Each platform has its pros and cons. I like to shoot in clubs, because there you can move freely, change angles, interact directly with the audience, be closer to the artists and make close-ups. At the same time, it is in clubs that the risk of equipment damage and injury is highest. For example, at one of the concerts I was filming in the front row, I was hit by a wave of slam, knocked to the floor, and the result was a pretty bruise on my face. But everything could have ended even worse.
It is more difficult to work on large venues, where the stage is from 18-20 meters in length. Here, the most difficult thing is when the artists move across the entire area, from edge to edge, quickly enough - then you have to deftly move yourself, which can be difficult to do, because, besides me, there are other photographers in the photo pit. But on the other hand, at such large venues, as a rule, there is very good and high-quality light in comparison with nightclubs, a photo pit is organized and order is provided by the organizers of the tour.

- What technique do you shoot with?

— I shoot with the Nikon D600 and prefer to work with fast zoom lenses, because I have to shoot at different sites and work in different conditions, including those where using a prime lens can make it impossible to quickly react to a changed situation and make the right shot. frame. Sometimes the only place available for a photographer at a concert is the sound engineer's console, in which case a telephoto lens is indispensable. And sometimes you have to maneuver in a narrow photo pit, in which you would like to be able to make both a general and a close-up of the performers. Musicians can quickly move up close to the stage and lean into the photopit, or they can quickly move into the background.

As a rule, during concerts there is not enough light for comfortable shooting, so one of the main criteria when choosing a camera in my work is the ability to shoot in low light conditions. No less important is the reliability of autofocus and the rate of fire, as well as the resolution of the matrix.
I have been using Nikon equipment for a very long time, it has never let me down even in such difficult shooting conditions as a concert report, and this is high humidity, dust, shaking, heat or cold. I like Nikon's fast and accurate autofocus, easy controls, the ability to shoot at high ISOs and, of course, the beautiful picture in the end.

Do you use extra light?

— Lighting is very important in concert photography. The ability to work with the original lighting conditions, navigate the colors, the direction of the light and use all this to create the image of a musician is very important in the profession of a concert photographer. Additional lighting at concerts, as a rule, is not used for several reasons: firstly, at concerts there is usually a beautiful and varied light that creates a unique atmosphere of a musical event, emphasizes the texture and color of the artists. Secondly, the flash can distract the musicians from their work on the stage and interfere with the audience. In our practice, there was a case when a photographer with a large reflector and a flash came to a concert in a club and, with all this equipment, began to shoot the speakers in the front row. As a result, the audience was outraged, there were many complaints. Flashes can also interfere with the work of fellow photographers. And finally, organizers often prohibit the use of additional light sources that can interfere with musicians and spectators.

At the same time, I will note that the ability to work with additional light sources (where it is allowed by the organizers) is very important, because with proper work with them you can create wonderful shots and solve problems of insufficient lighting.

Do you use photo editors?

- I use photo editors for post-processing, because, as a rule, after shooting, the frames are corrected for brightness and contrast, saturation, white balance, working with lights and shadows, sometimes - converting to black and white or toning the image where appropriate. But at the same time, the original frame is of paramount importance every time, because no processing will give true beauty to the frame if the source was not compositionally solid, or if it lacks the moment for which, in fact, the photographer pressed the button. In this case, when selecting pictures, it is always important to answer the question why this or that frame is so remarkable that we skip it in the final report, which is then presented to millions of viewers. Photo editors also sometimes allow you to emphasize the benefits of photography. In this case, there are different degrees of permissible interference in the frame. If the shooting is made to order, then the degree of such interference should be discussed with the customer, the media, as a rule, have their own requirements for possible image adjustments. If I’m shooting for my own portfolio or the intervention in the frame is not limited, then you can give free rein to your imagination. But do not forget that good processing is one that is not striking.

— What other knowledge should a concert photographer have?

— This knowledge can be divided into three groups. Firstly, this is general knowledge in psychology, the interaction between people. Secondly, knowledge of the physics of light propagation, the mechanisms of compositional impact on the viewer, the ability to see and catch that most important emotional moment, the musician's actions with the audience or on stage. Concert photography obeys the general postulates in photography, which were expressed in their books by Rudolf Arnheim, Lydia Dyko, Alexander Lapin and many others. The third is the peculiarities of the work of the actual concert photographer: knowledge of musical trends, which allows you to foresee the nature of the performance, the dynamics of events. It does not hurt to pre-prepare for the shooting, get acquainted with the composition of the group, identify permanent and session members, watch videos from concert performances of musicians in other cities, note which part of the hall the frontman mainly works for, in which hand he holds the microphone, and the behavior of other participants on stage . Of course, it is important to know and feel your photographic equipment on an intuitive level, to know the approximate exposure values, because lighting conditions can change every 10 seconds, and in this case it is important to quickly and accurately set the desired aperture, shutter speed and ISO values ​​so as not to lose the moment and have time to make quality frame. It is also important not to run around the hall, constantly clicking the shutter in the hope of catching a good shot. It is best to shoot in a static position, focusing all your attention on what is happening in the hall and on the stage.

All this together allows you to create a picture with a mood that can emotionally touch the viewer, and not just fix the fact that the musician is on stage. In my opinion, concert photography should also tell something more about the concert than is visible to the naked eye. I believe that a great concert photograph can convey everything: the atmosphere of the concert, the mood of the audience, the character and personality traits of the musician himself. The task of the photographer is to be able to catch and combine all this in one frame. A very good result, when shooting one concert takes about 5-10 good shots, and if among them there is at least one excellent one, on which the viewer wants to stop and look at it, then that's great. In my portfolio, I choose 1-2 frames from each concert, and sometimes none at all.

- Does the tension from shooting prevent you from listening to music?

- There is no tension as such, rather the opposite. There is something extreme in this work, a big dose of adrenaline is scooped up! Each performer on stage expresses himself in his work, in music, in text, in this sense, music helps to better understand and feel the moment and take the right frame, and photography helps to perceive the music more sharply. Listening and photographing at a concert are two interconnected, inseparable processes. Another thing is that with photographic equipment, of course, you can’t break away, forget about everything and just listen to music, but I don’t regret it at all.

Interviewed by Maria Zhelikhovskaya

Did you enjoy the interview? We'd love to see your opinions in the comments. And don't forget

On February 15, the Lumiere Brothers Center for Photography hosted a master class by photographer Alexander Svet as part of the PhotoSreda educational project on the topic: “Concert photography. How to get to a concert and get the most out of your photos. Alexander told the guests about all the main aspects of concert photography: from the peculiarities of shooting musicians to post-processing.

Alexander divided his master class into three parts: the practice of concert photography, technique and post-processing.

Concert photography practice

It is very easy to get to the concert and try your hand, - said Alexander. Here you will be helped by modern Internet resources. Read the blogs of musicians and keep your own, contact specialized publications and offer them your services.

How to find your style

Alexander emphasized that, as in any other genre, it is very important to find your own style in concert photography: “There are a huge number of photographers who shoot without understanding what they are doing. You must learn to take photographs that are recognizable. What does it mean to find your style? This means when shooting is in harmony with processing.

You have to shoot a lot, each time you will get better and better. Next - you need to process a lot, try different options and tools, experiment."

Explore and rate the work of other photographers

Another important advice from Alexander is to study the work of other photographers, not only classics and professionals, but also amateurs: “Masters have a name. It means that you forgive them everything. You may not like everything, but you will forgive him everything, because he is famous. When you look at the work of even well-known professionals, remember that they are people too. Comment and rate their work from your own point of view."

What to shoot at a concert

According to Alexander Svet, photographers can be conditionally divided into two groups: the first is photographers who "take beautiful pictures, which can be abstract and fuzzy. First of all, it is important for a photographer to show his own idea. The second group includes photographers who are important to make high-quality shots and show the artists.

So, what do you need to shoot at the concert:

Auditorium. You need to have time to take a picture from the stage before the lights go out.

Portraits of artists: close-ups. Here, a lot depends on the musicians, as Alexander said: “It is important to follow the facial expressions of the artist and convey its features in the photograph.

Gesticulation of artists, their game.

Use diagonal composition. “As a photographer, you decide a lot. You can't do more than the stage gives you. It is important to show the artist and his game from the outside, ”said Alexander.

Take black and white photographs. According to Alexander, they "provoke consideration and are more informative."

Use spotlights to create a bright concert image. “You have to look not at what kind of light and color in a photograph. Everyone has the same light. The artists are the same. And the photos are different. It is necessary to notice how the photographer uses the conditions. Even spotlights can very successfully complement the image of an artist, ”said Alexander. In addition, very successful results can be achieved if you combine cold and warm color contrast.

Work with different lenses to get diverse shots.

Listen to your inner instinct. “Intuition will tell you what to do and when to press the shutter button. Focus on your inner instinct, even use what you used to consider errors, if you like it. For example, noise,” Alexander said.

Finally, one of the most important moments, according to Alexander, is the energy of the musicians, which the photographer must feel.

Concert photography equipment

When people ask me which camera to use, my answer is that all cameras are the same. The question is which one can you afford. Your task as a photographer is to learn how to use all the possibilities of your camera, - said Alexander.

For concert shooting, you need to have several lenses. Alexander also uses Nikkor 35m f/2.0, Nikkor 24-70 f/2.8 and Nikkor 80-200 f/2.

With all their advantages, lenses with a fixed focal length at concerts will not be very convenient, primarily because of the need to take diverse shots, - Alexander shared his secrets. - The customer does not understand photography, but very clearly feels the difference between high-quality and low-quality photography. Therefore, you must make the most of the technique that you have. The more you shoot, the better your internal metering will be.

Demonstrating his advice with photographs, Alexander said that a flash at a concert can also be useful: “To learn how to work with a flash, you need to understand that there is natural light - the one that is already on the site. Artificial light is the one you add. They should complement each other."

As for the shutter speed and aperture parameters, I can’t give universal advice here. Given the need for fast shooting, it is better to work in semi-automatic mode, - Alexander advised.

Processing of concert photos

Speaking about the editor for post-processing photos, Alexander focused on the most important thing - "to be able to see the potential of the frame for processing." He himself uses CaptureOne.

According to Alexander, not all "errors" need to be removed. Some of them complement the image, such as a spotlight that creates a triangular composition in the frame and adds a special charm.

From how to get accreditation for a concert and what equipment to go to it, let's move on to the main thing - what are the features of concert photography? First of all, we need to decide on the task that we are facing. What do we want to get as a result, and what kind of concert photos can be considered really high-quality and successful? From the point of view of the compositional and informative component, concert shooting is not much different, for example, from group or portrait shooting. Much the same rules apply to her.

The photographs from the concert must show all the actors - performers, musicians, people from the crowd invited to the stage. Focusing is usually done on the eyes of the performer, as is done in portrait photography. Photos from a lower angle can add more "power" and expressiveness to the musician. Here you can use fairly standard principles for constructing a composition.

But concert photography still has an important feature. The fact is that the technical quality of the pictures, close-up photos of the performers and the general plans of the musical group are not enough here. The entire network is already filled with such pictures from concerts. In concert photography, something else is important - the transfer of emotions, experiences of musicians and their fans. You are required to capture the most dynamic and emotional poses in photographs, notice interesting details on the performer (hairstyle, clothes, makeup), show something unusual and new.

Extraordinary pictures that convey the emotions of the musicians, even with minor technical flaws, are highly valued. Accordingly, when shooting a concert, it makes sense to shoot from as many angles as possible, try different frame constructions, and at the same time, you need to constantly monitor what is happening on stage. Don't forget about taking pictures of the band's fans, their bright and interesting photos will help convey the general mood of the concert.

If we talk about the technical features of concert photography, then the first thing any photographer faces is the difficulty of obtaining sharp shots in conditions where the lighting is weak or constantly changing, and the performers themselves on stage move from corner to corner. Shooting on the move is not the best option. On the contrary, you should do everything possible to securely fix the camera in your hands. You need to get used to taking pictures with holding your breath and literally freezing in place.

When preparing to shoot a musical band or artist, it makes sense to look through the galleries of concert footage or video performances on their official website in order to understand for yourself how these performers behave on stage. This will help you decide in advance what place to take in the photo pit in order to get photos of the musicians from the best angle. To increase the chances that at least a few photos will turn out to be sharp, it is worth shooting in series of several frames.

During concert shooting, due to lack of light, the photographer has to make a choice between blurry pictures and noise. Noise is the lesser evil in this case, since it can be partially removed in post-processing. Blurring of the image is very difficult to fix later. In this regard, it is better to shoot at high ISO values, rather than trying to increase the shutter speed. As a rule, you have to use a sensitivity in the region of 1600 ISO.

Shoot wide open to achieve adequate exposure. The shutter speed will have to be selected depending on whether the object being shot is moving and how securely the camera is held in your hands (whether there is “shake”). In any case, the rule applies here - the shutter speed should be shorter than the reciprocal focal length. To shoot an actively moving musician on stage, you need shutter speeds faster than 1/160 sec. If you are photographing the so-called "headbanging", that is, waving long hair, you will need to use shutter speeds already shorter than 1/400 sec. It is recommended to control the focus point in manual mode, since the camera's built-in automation simply will not be able to recognize which of the details of the frame is of the greatest value to you.

Concert photography involves the ability to work with light. The photographer must look at the scene lighting every time he starts shooting. During a concert, you will encounter a constant change in lighting. As a rule, these are several repeating sets of light. Therefore, your task will be to choose the right exposure according to the changing lighting conditions.

Shooting parameters will have to be changed for specific lighting to get sharp, high-quality shots. To do this, you'll have to use spot metering and constantly pay attention to the histogram to make sure you don't underexpose or overexpose the shot. Of course, it is very difficult to find the optimal settings literally on the fly, but this comes with experience.

In addition to working with light, the background against which this or that event takes place is very important in concert photography. In this regard, it is very interesting when smoke machines are turned on during a performance. Smoke illuminated by multi-colored spotlights can be a great backdrop that can enhance the overall image. It hides unattractive structures in the background and at the same time perfectly diffuses the light, so that hard shadows or overexposed areas on the faces of the musicians disappear. However, smoke on stage can also be a photographer's worst enemy. After all, when there is a lot of smoke on the stage, musicians can literally disappear in it.

It is better to shoot concert performances in RAW format. In this case, the data is stored in 12-14 bits, which in subsequent processing will give you more opportunities to improve the exposure. Shooting in JPEG format will only be justified when shooting those concerts where there is constant and high-quality lighting to achieve the perfect exposure of the frame.

Usually such conditions arise at open-air festivals, that is, at concerts held in the open air. Such events, by the way, are a good opportunity to take high-quality pictures of performances in good lighting, which is not always the case in concert photography. The JPEG format also allows you to shoot as fast as possible, which in some situations can be very popular.

Ultimately, the success of concert photography lies in the fact that the camera captures some interesting episode or moment from the whole stream of events. This requires extreme concentration, concentration and experience, as well as the ability to predict what will happen on stage in the next second. You need to be very attentive to what is happening and be ready to react immediately. With experience, you will be able to keep up with events faster and be able to place more interesting details in the frame.

After shooting, when the photographer looks at the footage, out of several hundred shots, usually no more than ten are worthy and interesting. These frames are distinguished by their expressiveness, their energy and the transfer of the atmosphere of the performance. Technical issues in the evaluation of photographs play a rather secondary role.

Finally, it is worth saying a few words about the processing of the footage. In most cases, post-processing is reduced to the fight against the noise present in the pictures. There are many software filters and plug-ins to eliminate such noise. You should be careful here - it is not recommended to smooth the picture too much, because a little noise in concert photos looks quite natural and creates a feeling of realism in the image for the viewer. It will add "texture" to the picture and will not be very noticeable. Noise should be removed mainly in areas where there are no sharp details, in particular, in the region of gradients.

However, post-processing may not be limited only to the elimination of noise. As has been noted more than once, concert photographs should have artistic and emotional expressiveness, present an interesting and at the same time beautiful picture. Therefore, when processing, you can interfere with the frame more, within the framework of a moderate approach, of course. You can try to get rid of too flat or dim lighting, play with the contrast and color saturation of the image, use various filters and “special effects”. But still, you need to remember that your task is not to embellish the frame as much as possible, but to use processing to eliminate imperfections and give the photo a finished look that matches the mood and atmosphere of the event.

Live concerts are always vivid impressions, dynamics and richness of bright colors. For the average viewer, they are, but what do they mean for the photographer? If you often attend performances by famous artists, you have probably noticed how fussy the masters of photography are, trying to catch the best moment and the most successful angle, fighting with the ever-changing light, brightness and temperature of the picture. So it would be more correct to say that for a photographer a concert is a lot and a lot of work. However, if you still strive to shoot live performances and do it efficiently, you will not be able to do without proper preparation. That's why we've put together 10 rules, or rather tips, for you to help you get ready for your live performance.

homework

Jokes are jokes, but you really need to prepare for shooting in advance. First, carefully study the group or artist who is to be filmed. Youtube will help you with this. Firstly, it will allow you to get acquainted with the dynamics and stage behavior of the performer, which is of great importance for the final result. So you can know exactly what to expect from the soloist and musicians, what movements, techniques and “chips”. Then it will immediately become clear to you how and when to watch for a good shot.

Do not forget about the dynamics - after all, this is almost the main thing that should be in the frame. The purpose of a concert photographer is to show the emotions of the artist and the audience to those who were not present at the event. And of course, the best way is dynamic active photos.

Moreover, by looking and evaluating the scale and direction of shooting in advance, you can find the best points from which you will get the most winning shots. And the location, as you know, is very important for the photographer.

Leave everything else at home

It is equally important to leave everything superfluous at home before going to a concert. There are several reasons for this - firstly, you are going to a crowded place and making your way through the crowd with a huge bag full of equipment will be extremely inconvenient for you. Secondly, it will be uncomfortable for those around you. Thirdly, you never know what will happen and it may well happen that in a slam or in a normal drive attack someone will damage the equipment. Therefore, prepare your camera and the most convenient lens, grab a battery pack and a spare memory card, and boldly go to shoot the event without worrying about the safety of the entire arsenal. The standard set of a live reporter is a camera (full frame is better), a 35mm f / 2 lens and an external flash (you will need it, and why - we will talk about this later). If, of course, you have to shoot in the greenhouse conditions of the press zone, you can take spare ammunition with you, but know for sure that you most likely will not have time to replace the glass. So go light.

reflect flash

There are two kinds of concert photographers, and both can support their choice with reasonable arguments. Some fundamentally try not to use a flash in shooting and rely only on the lighting available in the hall, while others insist that clear and solid shots can only be obtained with a flash.

In both cases, you need to be careful, because the available light can fail, and the flash can distract the audience, and not all artists allow you to shoot their performances with a flash. So use flash, but in moderation.

The only recommendation that can be given here is to always try to reflect the flash. If possible - from the ceiling, if not - use a diffuser. The Flama FL-B14 soft box diffuser can be easily attached to the flash and allows you to soften the light in any conditions. It provides natural soft light and shadows.

fast lens

A concert photographer's best friend is aperture. Of course, zoom lenses are great, and in theory they are extremely convenient for filming concerts, but in terms of aperture they are definitely inferior to primes.

Of course, many photographers show up to the concert with a full frame camera and a 24-70mm f/2.8 lens. There is nothing wrong with this, but we have two goals - to shoot, making the most of the light available in the room, and in addition not to lug around with heavy devices. That is why it is most convenient to use glass with a fixed focal length and with a high aperture ratio. We do not mean expensive lenses at all, because it is enough to take a quality Nikon or Canon 50mm f / 1.8

ISO in this case can be raised to 12-13000, and the shutter speed can be set to 1/200 or 1/300 second. So with such settings, the parameters will compensate each other, and you can use only the lighting available in the hall without violating the realism of what is happening in the frame and, in fact, on the stage.

Avoid shooting at eye level

It's not so easy if you're in a big room, but if you're on stage or shooting in a small club, it's easy to make the mistake of taking point-blank shots. The advantage of large and high stages is that they allow you to get some kind of level: you can shoot from below, you can climb onto the balcony and shoot from above, you can shoot from behind or from the side.

As for the composition, due to the movement and constant dynamics on the stage, one must always be attentive. Try to avoid getting an extra hand in the frame, a technician running in the background, etc. Or, on the contrary, use them, moving towards reporting, not performance. One way or another, try to anticipate events a little in order to catch the right shot, because the concerts are live and anything can happen both in the hall and on stage during the performance. At the same time, it is important to be attentive and keep track of not only what is happening within the field of view of the lens.

Shoot in manual mode

It would seem logical to set the auto mode on the run and then not be distracted by unnecessary settings. However, on the contrary, it is probably best to shoot concerts in a fully manual mode. At a minimum, you will learn to work with an incredibly large number of types of light, while you will have a clear understanding of how which setting behaves in such conditions, and what the result is. In a word, you will know your own camera inside and out. In rare cases, you can set shutter priority or aperture priority, here you will have to act according to circumstances.

Professional concert photographers with experience, as usual, can almost determine the exposure depending on the available light by eye. So, if you want to get better at this, we recommend, for the sake of practice, try to set the exposure, not looking at the data and indicators from the camera, but by eye and check yourself every time. Over time, you will learn to easily “read the light”, respectively, it will be much easier to tune in.

Know when to change AF-C to AF-S

The two most popular autofocus modes on Nikon cameras are AF-C (continuous continuous focus mode) and AF-S (single focus mode). A concert photographer needs to know exactly when to switch from one to the other. Each time focusing again, you can achieve interesting shots, but only if the subject is not rushing around the stage, for example, during an acoustic set, when as a rule, the dynamics on the stage are less, AF-S is quite acceptable.

But AF-C is a much more suitable mode for concert shooting. Needless to say, when shooting a moving subject, this is basically the obvious choice.

When shooting in a dark room, even the coolest camera can not cope with the “tracking” of the subject, so you either have to use AF-C, but adapt to possible inconveniences, or focus with AF-S&. Composition will suffer in the first case, dynamics in the second . Although, in fairness, it is worth noting that among modern concert reporters you can also meet those who use manual focus.

One way or another, many modern cameras have center focus points where sensitivity in low light/contrast is increased. If you have a minute - check your camera, it's worth it.

Take pictures of the audience

Of course, you can’t go to a concert and spend all the time turning around to the stage. Your task, as a photographer, is to convey not only what happened directly in front of the audience, but to convey the general atmosphere that prevails in the hall. So sometimes at least turn around to the crowd and take pictures of the fans. As a rule, people willingly allow themselves to be photographed, and in a fit of joy from the impressions received, they can often interact with the photographer and smile or show any signs to the camera. When they are not posing, you can catch the purest sincere emotions at all. Don't forget to take shots where you can see both the artist and the audience, as this is the relationship that the event is built on.

Sometimes step back (quite back, to the end of the hall, behind the sound engineer) and shoot from behind the crowd, because this will give the viewer a real sense of presence, as if he himself is watching what is happening.

Catch an interesting light

We have already noted that many people prefer to shoot using only the light available in the institution. So, there is another reason for that, which is also worth mentioning. In this way, you can catch interesting light, for example, a beam that successfully fell on the artist, a shadow in a stream of light, and much more. That is, you should not always be upset that you got the difficult task of obeying the will of the lighting on the site.

There is only one rule of thumb when it comes to lighting: avoid shooting skin and faces bathed in red light. Red light does not allow you to get a detailed shot, which can only be saved in one way. Instead, wait until the light changes and press the cherished button.

As a last resort, if it was not possible to avoid the red light, many photos can be saved by simply converting to b/w.

Catch the details

Every time you go on a shoot, we tell you to pay attention to the details. Let's not back down today: about half an hour before the start of the concert, you have the opportunity to catch a lot of interesting moments - communication between fans, instruments, small details. You can capture the anticipation and tension on the faces of the fans.

After the concert, don't forget to film the setlist, and if you manage to catch at least a few moments from the impromptu autograph session, consider that the day was more than successful, because you managed not only to capture the performance, but also the real interaction between the artist and his audience. These are very emotional moments.

Well, you are ready for your first concert shooting experience. Last wishes from us: always be polite to the staff, fans and fellow photographers and enjoy the music! If you are having taste problems with the latter, stock up on good in-ear headphones that will help reduce ambient noise a bit - for example,