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    Tony Egan's Avatar
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    Gig Photography - my thoughts and practice

    So you want to take a great gig shot? I think it’s something everyone who enjoys musical performances wants to do or has tried once or twice, often to be a bit disappointed with the results. Gig or concert photography is a favourite subject matter and in response to some positive feedback and questions arising from the images I have posted in my APUG gallery and portfolio, I thought I would share my thoughts and practice.

    Where to Start?

    I started with a love for blues and jazz music and musicians and the photography came second. My first attempts to capture the “feeling” were tentative and self-conscious. This is not unexpected but it would be nice to think you had some idea of what you want to achieve before rushing headlong into mortgaging the house and buying that 400mm f1.4 lens! When I started to get serious about this 8 or 9 years ago I migrated towards what might be labeled “performance portraits”. That is, I usually isolated a single performer and filled the frame with a dynamic “moment” which attempted to encapsulate the spirit of the artist and the sense of occasion.
    In retrospect, I think this was probably driven by aesthetic considerations and my preference for clean and elegant composition. An alternative approach might have been to emphasize the untidiness and disorder involved in performance; interactions with the audience, wide angle lens shots while lying on the stage looking out, lots of flare and microphones and other messy things getting in the way so to speak. Another approach might have been to get in close with a long lens and isolate the face or eyes or the hands on the instrument only. I can appreciate different approaches and interpretations but a more formal, ordered style was where I kept leaning. Reviewers have called it too precise - maybe a bit too clinical, but it’s what I like. Do what you want to do and do it as well as possible! Copy others and steal ideas, but you will probably find the images you like and the prints you make gravitate towards a dominant style. Your preferred style and approach will then dictate what gear you need and where you want to be at a show.


    Getting Access, Getting Serious

    I am not a professional photographer, have never had a press pass and never tried to get one. I don’t think one is necessary to take great gig photos. I prefer to be a regular punter and take my chances. Of course, this has serious drawbacks in a highly regulated venue with numbered seats and restricted movement; not to mention prohibition of cameras. So I can’t take photos at these gigs. I am unlikely to be granted a pass ahead of established media professionals so I don’t stress too much about it. (I always have a small digital camera with me and take a few potshots at 10x zoom, f4.5 and see what happens!) Invariably the press these days only get three songs in the pit and they are all shunted out and replaced by bouncers. I have seen a few performers at the bigger festivals visibly relax once the press have left.

    My favourite venues are all day or multi-day festivals with a rich variety of performers. Second favourite is the local jazz, blues/roots music pub where it is possible to talk to the performers and convince the sound desk/stage manager dude to turn up the lights a bit. At festivals I approach the photographic “mission” quite seriously:
    • Know where I want to be by when and get to the front of the stage.
    • Try to catch the sound check so I know where performers will be sitting/standing.
    • Is the guitarist left or right handed?
    • Can I see the hands of the pianist from that position?
    • Which angle will give a clean backdrop to the main performer?
    • Be quite firm in staking “my spot” early and not yielding.
    If the performance is likely to be so crowded that once stationed movement is inadvisable, I prefer to be about 45 degrees to the main performer. I like separation between microphone and face and the opportunity for a clean, clear profile. Less crowded performances mean smaller stars but more freedom to move around at will and try many different vantage points. There is even greater freedom at the smaller venues particularly if you return frequently. Most performers will be very accommodating and will let you do almost anything if you are gracious and give the impression you know what you are doing.


    Getting hassled and abused

    It hasn’t happened too much to me but it is an occupational hazard when practising this kind of photography. I have many stories about over-zealous bag inspectors, bar managers, bouncers etc., but no experience has ever been that unpleasant to stop me coming back again. My advice is remain calm and dignified, put your case forward politely and, if necessary, tell a little white lie. My favourites are my brother/cousin/uncle is in the band, I’m with the band or I’m doing some press stuff for the band. In small venues I always approach the performer/s first thing and ask them if it’s ok to shoot - no flash! I can’t recall ever being knocked back and if I am challenged later by some officious busybody I can then truthfully say I have approval from the artist!


    Watching the performance and taking a little piece

    In thinking about what kind of picture or record I want to make of the performance I consider how I might describe what the show is all about in one shot? What is the predominant mood? Is it all colour, movement and theatre, is it masculine physicality, soulful, religious and/or preachy, politically hard-edged, highly interactive with the audience etc. These elements drive the lighting, facial expressions and body movements of the performers and will often dictate how to frame and capture that feeling.

    A few things I keep in mind:
    • Performers get nervous too.
    As performers approach the end of a piece they will start to relax a little. Eyes will open more and body movements become freer. They start to look around to give the wrap up signal to other band members and smile as if to say ‘we nailed that one boys’ and so on. Sometimes I will be staring through the viewfinder thinking this is really boring but for five or tens seconds towards the end of a song there will be some variety of movement and a certain looseness which can be worth waiting for and anticipating. Related to this, the encore will often be a signature piece and there can be a very different vibe. They’ve played it so many times and the audience knows it anyway so they can fool around a bit more and have some fun and interact with the audience more intensely.
    • There’s always the second (or third) chorus.
    Sometimes you will see a head movement or mouth position which is really attractive but you miss it first time. All is not lost; maybe he/she will do the same thing on the next chorus especially if its an emphasis on a certain word or phrase which is repeated. Hooray for a second chance.
    • Be ready for the solos.
    Players who also sing move away from the microphone giving you a different composition; guitar players give you the classical face of agony as they bend the strings on the money note ( I have hundreds of versions of these!) Generally they are trying to impress and giving it all in the solo break.
    Although I tend to focus on individual portraits, it is also worth looking out for intimate interactions between two or more performers. In most cases musicians are concentrating on their individual roles so the moments of engagement can be brief but rewarding if you stay tuned to the dynamics of the show.


    Exposure, aperture and shutter speed: aka it’s really dark in here!

    A few observations about lighting and exposure, assuming an inside venue under artificial light.

    Never use flash! Well, never say never, but I avoid it at all costs. I use it very reluctantly and if I have to, will take far fewer shots than under available light. I think it’s rude to the performers, annoys others in the audience and more importantly often makes for dull and unrealistic photos.

    I am sometimes asked which 3200 ISO film I have to use to get a “proper” exposure. I almost exclusively shoot 400 ISO film. My approach is if I think I can get enough useful light onto the film I will shoot. After many years of practice I can usually judge as soon as I enter a room whether I can “get away with it”. This may mean exposure which is one or two stops “under-exposed” but the question is, underexposed in relation to what? Average overall scene or the important bits likes face and hands? In a small venue, consider a six foot tall performer standing under a spot, say 10-12 feet away, aimed straight at the head. The subject brightness range between the head and the feet will vary considerably due to light intensity and direction. Do I need or want good exposure on the black boots - is it relevant to what I want to capture? Getting some reasonable facial and upper body exposure might be the best I can do. Most of my “difficult” negatives are those with overexposure on the face rather than underexposure in the shadows. After all, venues are dark and viewers expect the pictures to have a lot of black in them. Go with it and compensate with some good printing skills later. In larger venues/festivals with high quality and more uniform lighting, 400 ISO film is all I need with a good lens. I can usually get away with f2 to f4 at 1/60th at the bigger shows.

    Oh, and I hate black. Why do so many performers wear black!? It’s so much more polite to the photographer to wear something a shade or two lighter just to separate the body from the black curtain and avoid that disembodied face and hands look.


    Choose a speed and shoot manual.

    It’s a given that I will be shooting at maximum aperture or close to it. My approach is always to shoot manual and pick the shutter speed first. More often than not I shoot at 1/60th and adjust aperture if allowed. I think 1/60th is a nice balance between enough exposure and sharpness while allowing for the “magic” of some movements in body parts. Hand holding a 35mm camera at a 1/60th is not foolproof but selectivity as to when to press the shutter also comes into play to either enhance motion or keep some body parts “still” in relation to others. If the light is really at the low end of “getting away with it” I will shoot at 1/30th but not usually any slower. I think a slight sense of movement can enhance the feeling of witnessing an active, vibrant event. I have tried a monopod but find them a bit restrictive especially in crowded venues and any benefits in sharpness were marginal.

    I can’t recall ever using continuous shooting mode. I prefer making my own decisions about when to trip the shutter. I don’t really have an objection to an approach that anticipates that one of the 6fps shots taken is the one you really intended to capture. I suppose I enjoy the challenge of relying only on my physical ability and instincts rather than the mechanics of the camera. Having said this, of course luck (good and bad), will always play some part in this kind of photography.

    Even in large venues, subject brightness range can vary by two or more stops depending on the number, direction and intensity of spotlights within songs, between songs and between different performers. Again, I don’t fret too much about achieving “perfect” exposure. I will use the spot meter in my camera to make a few quick assessments from time to time and then just use my eyes and the aperture ring to make the decision, leaving the shutter speed fixed. I tend to go straight to the face and figure if it’s around “zone 5” it’s workable and if there are bigger apertures still available on the lens, go from there in terms of skin placement After a while, with practice, it becomes fast and instinctive. It’s also fun to play the let’s guess the exposure game to test the accuracy of eye and brain before looking at any meters.


    How many shots?

    The standard answer is film is cheap so shoot a lot, but there are some things to consider. At crowded, large venues with a high stage you are unlikely to distract anyone by shooting a lot. In smaller clubs and pubs I am a little more conscious of being a nuisance and a distraction to the audience. I will generally hug the sides of the stage a little more in the smaller venues and venture out to the centre two or three times for a different viewpoint. It also helps to have a passable dance style. Once a few dancers get up I am more relaxed about joining them up front and then dodging them to take as many shots as possible in between shaking some booty.
    How many shots depends on the number of performers on stage, the dynamics of the show and the simple photogeneity of the faces, bodies, costumes and overall stage presentation. A seated, solo singer-songwriter with one guitar and microphone will obviously be different to a 10-piece band full of colour and movement. That doesn’t necessarily mean the solo artist attracts fewer shots. Some have been fascinating subjects who chewed up rolls of film and some large bands have been more challenging to wrestle with photographically.
    At festivals, where performers are on stage for around an hour, I would probably average between 1 and 2 rolls of 35mm film - say around 50 to 70 shots per performance. I expect (or hope) for 3-5 very strong images from this many shots and say another 8-10 very sound representative images of the gig but lacking that special “spark”. I sometimes catch myself repeating shots within the same performance but I try not to censor myself by saying “you have already taken that shot!”. Subtle variations in focus, lighting and body position can provide that spark which pushes one shot to the top of the pile over the others.



    Film, Development and Printing

    After trying quite a few combinations the one I keep returning to for film and development is Kodak TX400 (Tri-X) and Kodak XTol diluted 1+1. The technical boffins and curve junkies out there can do a better job than me of explaining why this might be a good combination. In simple practical terms I find the highlights don’t get blocked up too much and I can get slightly better shadow detail compared to other combinations. XTol is often referred to as a film “speed-enhancing” developer. This means it can draw the most out of lightly exposed silver halides. Tri-X is described as having a “shoulder” in its characteristic curve meaning the risk of “blowing out” highlights is reduced.
    Ilford HP5 is a pretty good back up. I find Neopan 400 too contrasty for an already contrasty subject and weak in the shadows, but Neopan 1600 rated at around 800 can also produce some good results in lower light situations. I have only used colour film on one or two occasions so I can’t give any advice in that regard.

    I am not a big fan of “pushing” film too far. This subject is usually contrasty enough without pushing the highlights further through over-development. The “standard” development time for TX400 at 20/68 in Xtol 1+1 is about 9 minutes. I will usually develop for 10 minutes and very occasionally up to 11 minutes if the “workable light” was on the borderline. After that, it’s off to the enlarger!

    Most of the time I use some form of split-grade printing technique on multigrade paper which is very effective with a high contrast subject which calls for expansion of the highlights and shadows at the expense of squeezing the midtones a little. I start with a low grade filter (0 to 1) to work on the highlights and establish a suitable time for the whites, extracting as much gradation as possible around the face and other bright areas. These interim prints will invariably have muddy and unattractive shadows with no strong blacks or blacks where you expect to see black. I follow this with a Grade 5 overall exposure and selective Grade 5 burns on background areas to produce a pleasing overall tonality in the final print. I do have a few favourite lucky negatives which will print beautifully straight through on Grade 2. With this subject matter, however, I think a very good printing technique is necessary along with the patience to try all the options to bring out the best in the negative. Murphy’s law also dictates that some of the prints people like and want the most are from the “worst” negatives requiring extensive work and multiple steps under the enlarger.

    My favourite paper is the now discontinued Agfa MCC (fibre-base). I still have about 10 boxes of 11x14 left in my fridge. I am hoping a suitable and reliable alternative will surface by the time I have finished my stockpile. I rarely print my 35mm negatives any larger than 11x14 inches. Allowing for a generous border the maximum image area would be around 9x12 inches. I don’t mind grain or softness in larger prints but I find the tonality becomes less attractive with bigger prints and I think that’s the main game in a fine print. Preferred paper developers are Agfa Neutol + or Dektol.


    OK, can we talk about gear now?

    Alright then. My kit is:
    Nikon F4
    Nikon 50mm f1.4
    Nikon 85mm f1.8
    Nikon 80-200mm f2.8

    A few comments about why this gear suits me. I take better photos with an auto-focus camera for this subject matter. (I expect the Leica loonies will choke on their cornflakes and say they can do it better and faster, but this is my experience). I initially went to autofocus due to failing eyesight but I had a higher success rate after doing so compared to when I used a manual focus camera. Let’s face it, performers move a lot, the decisive moment is fleeting and depth of field is limited. Getting focus where I want it as quickly as I can is important. Automatic film advance is also a benefit in this environment. The Nikon F4 is not the fastest autofocus body in the world, but I also like its heavy weight and the simple analog controls compared to the later F models. It has buttons and dials which I can change quickly and a weight which feels still in my hands and helps with camera shake at low shutter speeds. As mentioned above, I also rely on the spot meter from time to time to do exposure evaluation.

    I find the 85mm focal length very suitable for my portrait style. It is the lens I use for most photos. Long enough to fill the frame if you get close enough but versatile enough to capture multiple performers if you pull back a little or they are further back on the stage. The 80-200mm f2.8 is a lovely lens and is suited to larger venues where the lighting is stronger and the performers further away. I don’t use the 50mm that much but it can be useful if I want to get everyone on stage in the frame.


    In Conclusion

    A few final thoughts. It’s a good practice to take a pen and paper to gigs and make a note of band and performer’s names, take down email addresses, phone numbers etc. Not necessary for headline acts, but important for smaller gigs and festivals. I usually send digital images to performers’ email contact addresses or take prints back to the venues I frequent. This creates a lot of goodwill and can lead to some interesting interactions and even friendships. Also, send images to event organisers and music publications. This can grease the wheels for greater access at future events. I recently had a photo spread in the local Blues Society magazine. Hardly a Rolling Stone cover, but it’s a nice addition to the portfolio and good for the ego to see oneself referred to as an “ace photographer” in print!

    Get out there and give it a go and good luck with your gig photography!

    http://www.apug.org/forums/portfolios.php?u=8644
    http://www.pbase.com/tonyegan/music

  2. #11
    Thanasis's Avatar
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    Great article Tony! Very interesting and informative.

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    Tony Egan's Avatar
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    Quote Originally Posted by Mick Fagan View Post
    Good article Tony!

    I also missed this first time around as I thought it was a Gigabit film article.

    If ever you do get the chance to borrow an 85 1.4 do so, you won't believe how bright it is in dim light.

    Mick.
    Thanks Mick - the things you learn. I was not even aware of Gigabit film until several people mentioned it here. Sounds like an oxymoron!
    Yes, the 85mm f1.4 is on my wishlist but it's considerably bigger than the f1.8 and I got my 1.8 for a very good price at the time and could not justify the price difference for the extra f0.4! One day I'll have one....

  4. #13
    Ian Leake's Avatar
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    This was a very interesting article. Thanks Tony

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    it too have been doing this for years Motorhead were here recently so i took my nikon f3 in with a tamron 135 and about 10 rolls of 400 fuji i got some good shots and after scanning the best ones i emailed them to the band who put them on their web site, you can see them at:

    http://www.imotorhead.com/gallery/live/l221.htm
    http://www.imotorhead.com/gallery/live/l222.htm
    http://www.imotorhead.com/gallery/live/l223.htm

  6. #15
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    Great article! Thanks for sharing.

  7. #16
    Tony Egan's Avatar
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    [quote=david_mizen;612812]it too have been doing this for years Motorhead were here recently so i took my nikon f3 in with a tamron 135 and about 10 rolls of 400 fuji i got some good shots and after scanning the best ones i emailed them to the band who put them on their web site, you can see them at:

    Thanks for sharing David. Your shots nicely illustrate a few of the points I was making in the article. You were a long way from the action so the performers are small in the frame and an overall band performance shot is probably the best you can do in that situation. A "portrait" is out of the question. For these reasons I think the first shot (121) is the most effective due to the inclusion and interaction with the crowd and Lemmy's peak moment with the raised bass guitar. There is also the flare and "mess" I was referring to when you have to include this much information. Finding a satisfying composition can be a challenge. They also illustrate some of the exposure challenges with some really hot highlights in several places which again is probably unavoidable when trying to get a balance between enough lighting on all the information in the scene without blowing out the highlights on faces and hands. It's also a lesson in making the most of where you are and the gear at your disposal and going for it regardless!

    Motorhead is not really my kind of music but Lemmy is certainly a great character and I'm old enough to remember their performance on The Young Ones over 20 years ago. Still makes me smile today.
    http://99clips.net/en/video.php?vid=e27b3f30c

    Cheers

    Tony

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    Tony: your words do carry a lot of fact and truth to them about doing Gig work weather for fun or for profit: In my few times I was able to fotograph a band or its crew, Were limited But I do have one shot That I have of Buddy Rich on the drums , After an hour or so his Head stopped bobbing long enough to get his hands in motion and his head still: None of the rich band stayed still long : Memories are made of those times:
    Last edited by seawolf66; 05-11-2008 at 06:31 PM. Click to view previous post history. Reason: grammer
    Lauren MacIntosh
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    Since I spent 3 years deaf and contact-buzzed from shooting the big shows, I'll add my 2 cents.

    As close as you can, 45˚ to the stage (if you HAVE to chose between straight on and 90˚, go for the 90), shoot manual, use the slowest film you can get away with.

    Took me 2 years to figure this one out, and it's worth it's weight in something: if it's a big show with a lot of bass and drums, learn to shoot between the beats. Sounds silly, but you'd be surprised how much air pressure there is on those speaker enclosures, and how badly it'll screw up mirrors, shutters and the film itself.

    And wear earplugs. I didn't hear a word of my senior year because I was shooting 4 or 5 shows a week.

    jack
    Good. Fast. Cheap. (pick any two)

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  11. #20
    Ian Grant's Avatar
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    This is a field I've worked in since the early 70's, films have come & gone unfortunately. Both Kodak & Fuji used to manufacture special push process high speed E6 films and these were superb in smaller less well lit venues.

    For B&W I much preferred HP5 to Tri-X and used to push process it in Microphen/ID68 but when XP1 came out I switched to it, and continued with XP2. I found that XP1/2 gives far less grain & much better tonality, I always processed it myself.

    I'm lucky in that I can often choose the venue for shooting a band's live shots, this makes a huge difference as I know the lighting engineers and can discuss the lighting being used before hand. On the odd occasions I've shot at two different venues on the same night but it's not so much fun. I guess I shoot somewhere in the region of 40+ live performances last year, but that's a fraction of the previous two years - I was working for a record company. I've worked with the artistic Director for over 30 years, and still shoot his own rare performances

    Perhaps it's time I returned to using film for the odd performances I shoot for fun, rather than work. It's an unfortunate fact of photography that most commercial work has to be shot digitally, or delivered in a digital format. I still use film alongside D****l for location shots.

    Ian

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