More and more performers are trying to ban smartphones during their concerts and only allow professional photographers to take the shots. However, Kendrick Lamar is taking a different route. He will not ban his fans from using smartphones at his shows – but there will be no professional photographers allowed.
Photographing huge gigs like those of acts like Bon Jovi is the dream of just about every would-be concert photographer. To go on tour with them, get exclusive behind the scenes access, and have millions of people see your work? Well, that’s just fantasy. For most of us, at least. But for photographer David Bergman, that’s been his reality for the past seven years.
This video from AdoramaTV profiles David’s journey as a concert photographer. David talks about how he started off his career, and shot for big clients including Sports Illustrated, through to finding himself touring with Bon Jovi.
At KROQ Acoustic Christmas on Saturday, a video shows Queens of the Stone Age frontman, Josh Homme, violently kick toward a female photographer’s head during his performance. Like any professional, Chelsea Lauren, a photographer for Shutterstock, composed herself and carried on to shoot the headline act that came on next. Then she spent the rest of the evening in the ER.
Gender inequality is still present in many aspects of our society. The same goes for photography industry, and this has made a renowned music photographer quit it. London-based photographer Sarah Ginn has recently announced her decision to leave music photography. The reason – misogyny and bullying she faced from her peers.
Sarah has been the resident photographer for the nightclub Fabric for ten years. However, the events from past three years forced to make the tough decision and quit music photography.
While taking photos in public places is one of your constitutionals rights, some officials seem to violate the Constitution more often than ever. The latest case happened in Los Angeles, where the city officials have issued the ban on photographing free concerts in a public park. Not only you can’t shoot the concert as a regular viewer, but it seems you can’t even get the press permit.
This guide is intended for concert photography beginners. If you have a DSLR camera and are interested in how to control your camera settings to take great photos at concerts, this guide is for you. If you’re an experienced photographer who just hasn’t shot shows before, there may be some helpful info in here along with plenty of stuff you know already.
There are a lot more music photographers than there are music photography jobs — that’s just how it is in this corner of the industry. It’s a port of entry for many hobbyist photographers, and the result is saturation of the market. A lot of budding photographers are willing to work for free, making the gigs that are out there even tougher to get.
When most bands are composed of young people just out of (or still in) high school, is understandable that most aren’t able to pay photographers much. I used to charge local bands $100 for a band promo shoot. That felt like a fair price back then; I gained valuable experience and it was affordable for the musicians as well.
But a few years down the line when you have thousands invested in gear, $100 shoots aren’t going to cover your costs, not to mention your time. When you reach that point, you have to figure out other ways of simply financially maintaining your hobby. I want to shed light on a few opportunities that I’ve found and seen my peers succeed in, not just breaking even but actually making a living.
I had an interesting discussion in a photography group on Facebook some time ago. It started with my question about the 35mm prime lens, and somehow I ended up discussing zoom lenses with a member of the group. He said that, as an event photographer, he doesn’t have the luxury of moving around and focusing with his feet so he only uses zoom lenses. I support him and agree with him – up to some point.
I am not a professional event photographer, so I have the luxury to experiment. And a few months ago I was in a situation where I had to experiment. My prime lens was put to a test in event photography – and I believe it passed.
Recently I had the opportunity to test the new Fuji X-T2.
At start, it was only possible to do some tests with natural light and mainly in the street. Although it is not the kind of environment I use to photograph, this first test had as main objective to serve only as the first contact with the equipment, so that in a second test, which I intend to do soon in concert, im already slightly familiar with the menus and buttons Of the X-T2.
This text is not meant to be a technical text, I am no expert in engineering and certainly the Fuji engineers must have their reasons for deciding to build the X-T2 as it is, in this text I will only share what I found of the X-T2 and what I felt when I photographed with it.
My intention with this test, and with the test in concert photography, is to verify if the X-T2 is a valid option to replace my Canon equipment, at least for concert photography. I like Canon and I am very used to the brand, but as Canon Portugal has decided to close the official service of the brand in Porto, thus abandoning its customers, I can not and do not want to be subject to mailing my equipment to repair In Lisbon by a repair company that I do not know …
It should be noted that Fuji has the official technical service for Portugal and Spain based in Oporto.
Photographing concerts is not an easy task, especially indoor concerts. Often, you’ve got get dim lighting conditions. The lights you do have illuminating your scene are often extremes of one colour or another. They oversaturate your shot, you lose a lot of detail and information, especially in highlights and skintones, and your camera’s meter often just can’t handle it.
So, what can you do? In this video from concert photographer J. Salmeron at MetalBlastTV, we find out how our cameras react to different types of light, the challenges faced shooting concerts, and how to overcome some of them. It also explains why we see so many concert photographs shot in black and white.