First photo pass to a concert! Lessons learned...

ahsanford

Particular Member
Aug 16, 2012
8,617
1,642
I was fortunate enough to get a photo pass to shoot a rock concert in my area.

I am not a pro photog by any stretch, but the chance to marry up my two great interests (music + photography) was too good to pass up. I've attached my really crude 101-level experience and lessons learned from the activity. I welcome the concert vets to straighten me out if I've come away with the wrong learnings.

Gear selection

  • Faster wins. Unless you are shooting a daytime outdoor show, you will 95% of the time be shooting close to wide open to avoid ISO values above 6400. Faster glass will let you walk that back to 3200, 1600, etc. depending on the light.
  • Closer wins. Shorter focal lengths handle longer shutter speeds better. The golden rule of a maximum shutter of 1 divided by focal length is about right. So a 50mm lens can get by with a 1/50s shutter, but a 200mm lens will need a 1/200s shutter, which often will require disastrous ISO levels.
    • So it's no surprise that I rarely see large sports glass off on the wings of concerts in large venues. I don't think I've ever seen anything longer than an 70-300L at Coachella once the sun goes gown. Most everyone I see in concert photo pits is carrying some sort of ultrawide (fishbowl, 14 prime, 16-35, etc.) and either a standard zoom (24-70 or 24-105) or prime (the 50 F/1.2 and the 135 F/2 are a regular sight). Some folks pack the 70-200 as well.
    • I recognize this point (closer = better) completely dismisses the value of different glass for framing and composition, but if you want a sharp shot in this light, you have to make tradeoffs, right?
    • Also, your proximity to the stage, the size of the stage, etc. will drive the lengths you need.
  • What I brought and what I used it for:
    • Body = 5D3. Not a selection issue for me as the alternative was my old T1i.
    • 28mm F/2.8 IS. Not super quick, but IS on such a wide angle is super useful in the dark. Used for wide shots up close at the stage (two guitarists in frame together, wide stage shot, etc.) as well as venue shots from the sidelines. Used it 5% of the night. More about that later.
    • 50mm F/1.4. This is my staple low light tool, but I noticed that it was front-focusing when I was setting up prior to the band coming out, and I didn't want to have to use MF. It stayed in my bag until late in the night for some balcony shots as a result. Used it for about 5% as well. Need to set the AFMA on that and get it sorted.
    • 70-200 F/2.8 IS II. A flagship sports / photojournalist / wedding lens, but F/2.8 is not ideal for concert lighting. That said, there aren't many faster options at this length (other than the impressive 135mm F/2 and the comically large (but equally impressive) 200mm F/2). Though I was planning on using the 50mm most of the night, I ended up using this 90% of the time. It fared better than expected on focusing in low light, but the concerns of length vs. shutter speed needs obviously came up, so the ISO had to climb. The 70mm end was not wide enough just a handful of times, but I made do.

Shooting up front

I got to the stage before the set and one of the organizers was on stage. I flagged him down and he explained the classic thing I've read about:

  • I had fifteen minutes stage access, i.e. right at the stage (in front). This is often phrased as being for three songs, but being a prog rock show, that could be 90 minutes. So, for this show, it was stated as '15 minutes'. Then I'd have to skedaddle.
  • No flash, of course.
  • No video, of course.
  • In that first 15 minutes, my head had to stay below the level of the stage, i.e. on my rear-end or kneeling. Thais was not a traditional pit -- it was a four foot stage at a concert hall.
    • This ended up greatly limiting my framing. I was limited to waist up shots of the players for the most part, and shooting the drum kit was simply not happening without framing out the bottom 30% of the kit (the drum risers were not particularly high at this event).
    • This requirement effectively killed the up close / wide opportunity of the 28mm lens. I had the awful choice of 1/3 of the VF being blocked by the stage or my two rocking guitarists being stuck in the bottom corners of a wide shot (not a good look, even after perspective correction).
  • For this show in particular, I could not mill about the aisles to shoot after the first fifteen minutes (house rules about blocking view or people leaving for the restrooms).

Camera Settings

  • RAW only. Say this ten times. I didn't even bother with the JPG + RAW as my card was rather full already. With ISO 3200+ and with crazily shifting lighting, RAW is really the only way to go anyway. JPG is useful for some shooting needs, but here, RAW is the best call.
  • Mode: I believe that Av, Tv and M all work (as always) provided you keep an eye on what you are not prioritizing. As a creature of habit, I shot aperture priority, but I was constantly working the triangle of Ap / shutter / ISO to get the best possible balance I could. Call it 'manual shooting with metering for better exposure'.
  • Default setting was wide open or perhaps 1/3 - 2/3 stop narrower, ISO 6400 (3200 with the fast primes, perhaps). ISO and aperture adjusted to get a more desirable shutter speed. Exposure was generally a shade under normal (like -1/3 or -2/3 EV) as you don't necessarily want the background fully exposed (your subject will be too bright).
  • Standard (evaluative) metering -- I didn't need to mess with it at this event as the lighting was decent enough. (Spot metering has been a prior call in some dark caves I've shot in the past.)
  • One shot focusing. It's the most accurate unless you want to capture a burst of some David Lee Roth jump kicks (and the house lights are on). This was not that kind of show at all.
  • Single point AF or the very small plus-shaped point cluster AF. AF worked really well that night. Lighting was decent. Darker lighting + less modern AF glass = AF will hunt and you will miss shots.
  • Focused and then reframed on the wide glass (those are more DOF forgiving), but largely moved my AF point to the subject in the desired framing for the longer zoom I was using.

Composition lessons learned

  • Obvious, but must be restated -- shooting nearly fully open has a tiny working DOF. F/1.4 - F/2 on the 50 prime is fine for a single subject, but if you want more than one musician in the frame, I had to do one of the following:
    • Stop the aperture down to F/5.6 - F/8, which usually meant increasing the ISO even further (i.e. 8000+)
    • Wait for the two musicians to be about the same distance away. That happens less often than you'd like.
    • Wait for the house lights to come up.
    • Get further away, like on the balcony. Larger distance = larger working DOF for a given aperture.
  • Move your feet. Unless you know a band very well, your principal subject might not be where you want them to be.
  • Keyboards, mic stands can interrupt your framing, look unattractive, etc. Again, move your feet.
  • Knowing the songs really helps. With an emotive frontman or musician, if you know when the hook drops or the solo starts, you can time your shots for a rock face, fist pump, gospel arms, etc.
  • Don't forget the stage lighting. Try to frame up the subject against a stage spotlight, or possibly just shoot the band member as a black silhouette in a field of color. (Need to do that more next time.)

Output / post-processing (note I'm somewhat odd in that I just use PS's Adobe Camera RAW instead of LR, Aperture, DXO, etc.)

  • Skintones are flat and tough looking at these high ISO settings, even on my great low light rig. Extreme care has to be taken to avoid saturating skin tones in post processing, or your rock star looks like he spent a week in a tanning bed. Also, software that avoids oversaturating skin tones can often fail as the stage lighting (if you didn't back it out with RAW WB processing) pulls the skin tone out of 'skin tone range'. I need to do selective color editing in post, but I never do. More work than I'd like. I just did macroscopic RAW adjustments like vibrance and saturation, but at a fraction of what I'd normally do for the aforementioned skin tone reason.
  • White balance management is great with RAW, but I don't know if the goal is to subtract out the lighting tint on the subject or if I want to capture that as part of the composition. I can do either, but I wasn't sure which to do.
  • Noise reduction is unfortunately necessary as the ISOs are high. I generally hate what this does to details, so I do it sparingly.
  • Sharpness adjustments in RAW processing are a staple adjustment usually, but with low light it amplifies the noise. So I generally did less sharpening to limit the noise reduction needed.

Please set me straight if I've misinterpreted the concert shooting experience with my statements above. There may be a vital trick I am missing.

Thanks for your thoughts!

- A
 

ahsanford

Particular Member
Aug 16, 2012
8,617
1,642
A few hits and one clear miss (the drum shot) to show how much I still have to learn!
 

Attachments

  • _Y8A8593.jpg
    _Y8A8593.jpg
    107.7 KB · Views: 2,234
  • _Y8A8736.jpg
    _Y8A8736.jpg
    313.6 KB · Views: 2,166

ahsanford

Particular Member
Aug 16, 2012
8,617
1,642
A few others...
 

Attachments

  • _Y8A8679bc.jpg
    _Y8A8679bc.jpg
    343.3 KB · Views: 2,148
  • _Y8A8802bc.jpg
    _Y8A8802bc.jpg
    310.2 KB · Views: 2,184

ahsanford

Particular Member
Aug 16, 2012
8,617
1,642
Can any concert vets tell me how strict the 'stay below the stage' mandate is? Will I get bounced if I sneak the camera above stage-level?

- A
 

SithTracy

EOS M50
Feb 22, 2012
42
0
52
S.E. WI, U.S.A.
Awesome photos. I took my 5dmk3 with me to my first show... no pit pass and restricted to a lens that was smaller than my fist as well to my seat. Went w/ the EF 85mm F1.8 so I did some cropping @ 8 rows back. No where near as good as yours but not bad for croppy's.

8698853986_a3c5e88aa6_b_d.jpg


8698095875_657cf95565_b_d.jpg
 

moocowe

EOS M50
Nov 13, 2012
48
0
I shot my first concert with the 5D3 and 70-200 IS II last week. It was a relatively small venue with poor stage lighting.

I used AV mode, f/2.8, ISO 8000, and min shutter speed set to 125th. I was pretty happy with the shots I got using those settings.

I'm looking for the same advice on post processing. The noise cleans up fine, but I'm wondering how to go about setting white balance. Iccan't get a natural skin tone due to the colours of the stage lights, so how do I choose a temperature?
 

Harry Muff

EOS RP
Aug 29, 2011
412
0
Toronto
www.flickr.com
moocowe said:
I shot my first concert with the 5D3 and 70-200 IS II last week. It was a relatively small venue with poor stage lighting.

I used AV mode, f/2.8, ISO 8000, and min shutter speed set to 125th. I was pretty happy with the shots I got using those settings.

I'm looking for the same advice on post processing. The noise cleans up fine, but I'm wondering how to go about setting white balance. Iccan't get a natural skin tone due to the colours of the stage lights, so how do I choose a temperature?


Just go with what looks good. It's your image and nobody knows the colour would have been at actual moment.


Gig lighting isn't about being natural.
 

Ewinter

EOS RP
Aug 21, 2012
223
0
If it's skin tone under harsh gig lights- anything warm, if you're bumping the contrast, crank the luminance in red, orange and yellow channels.
Stops people looking like cheetos
 

Quasimodo

Easily intrigued :)
Feb 5, 2012
977
1
49
Oslo, Norway
www.500px.com
ahsanford said:
I was fortunate enough to get a photo pass to shoot a rock concert in my area.

I am not a pro photog by any stretch, but the chance to marry up my two great interests (music + photography) was too good to pass up. I've attached my really crude 101-level experience and lessons learned from the activity. I welcome the concert vets to straighten me out if I've come away with the wrong learnings.

Gear selection

  • Faster wins. Unless you are shooting a daytime outdoor show, you will 95% of the time be shooting close to wide open to avoid ISO values above 6400. Faster glass will let you walk that back to 3200, 1600, etc. depending on the light.
  • Closer wins. Shorter focal lengths handle longer shutter speeds better. The golden rule of a maximum shutter of 1 divided by focal length is about right. So a 50mm lens can get by with a 1/50s shutter, but a 200mm lens will need a 1/200s shutter, which often will require disastrous ISO levels.
    • So it's no surprise that I rarely see large sports glass off on the wings of concerts in large venues. I don't think I've ever seen anything longer than an 70-300L at Coachella once the sun goes gown. Most everyone I see in concert photo pits is carrying some sort of ultrawide (fishbowl, 14 prime, 16-35, etc.) and either a standard zoom (24-70 or 24-105) or prime (the 50 F/1.2 and the 135 F/2 are a regular sight). Some folks pack the 70-200 as well.
    • I recognize this point (closer = better) completely dismisses the value of different glass for framing and composition, but if you want a sharp shot in this light, you have to make tradeoffs, right?
    • Also, your proximity to the stage, the size of the stage, etc. will drive the lengths you need.
  • What I brought and what I used it for:
    • Body = 5D3. Not a selection issue for me as the alternative was my old T1i.
    • 28mm F/2.8 IS. Not super quick, but IS on such a wide angle is super useful in the dark. Used for wide shots up close at the stage (two guitarists in frame together, wide stage shot, etc.) as well as venue shots from the sidelines. Used it 5% of the night. More about that later.
    • 50mm F/1.4. This is my staple low light tool, but I noticed that it was front-focusing when I was setting up prior to the band coming out, and I didn't want to have to use MF. It stayed in my bag until late in the night for some balcony shots as a result. Used it for about 5% as well. Need to set the AFMA on that and get it sorted.
    • 70-200 F/2.8 IS II. A flagship sports / photojournalist / wedding lens, but F/2.8 is not ideal for concert lighting. That said, there aren't many faster options at this length (other than the impressive 135mm F/2 and the comically large (but equally impressive) 200mm F/2). Though I was planning on using the 50mm most of the night, I ended up using this 90% of the time. It fared better than expected on focusing in low light, but the concerns of length vs. shutter speed needs obviously came up, so the ISO had to climb. The 70mm end was not wide enough just a handful of times, but I made do.

Shooting up front

I got to the stage before the set and one of the organizers was on stage. I flagged him down and he explained the classic thing I've read about:

  • I had fifteen minutes stage access, i.e. right at the stage (in front). This is often phrased as being for three songs, but being a prog rock show, that could be 90 minutes. So, for this show, it was stated as '15 minutes'. Then I'd have to skedaddle.
  • No flash, of course.
  • No video, of course.
  • In that first 15 minutes, my head had to stay below the level of the stage, i.e. on my rear-end or kneeling. Thais was not a traditional pit -- it was a four foot stage at a concert hall.
    • This ended up greatly limiting my framing. I was limited to waist up shots of the players for the most part, and shooting the drum kit was simply not happening without framing out the bottom 30% of the kit (the drum risers were not particularly high at this event).
    • This requirement effectively killed the up close / wide opportunity of the 28mm lens. I had the awful choice of 1/3 of the VF being blocked by the stage or my two rocking guitarists being stuck in the bottom corners of a wide shot (not a good look, even after perspective correction).
  • For this show in particular, I could not mill about the aisles to shoot after the first fifteen minutes (house rules about blocking view or people leaving for the restrooms).

Camera Settings

  • RAW only. Say this ten times. I didn't even bother with the JPG + RAW as my card was rather full already. With ISO 3200+ and with crazily shifting lighting, RAW is really the only way to go anyway. JPG is useful for some shooting needs, but here, RAW is the best call.
  • Mode: I believe that Av, Tv and M all work (as always) provided you keep an eye on what you are not prioritizing. As a creature of habit, I shot aperture priority, but I was constantly working the triangle of Ap / shutter / ISO to get the best possible balance I could. Call it 'manual shooting with metering for better exposure'.
  • Default setting was wide open or perhaps 1/3 - 2/3 stop narrower, ISO 6400 (3200 with the fast primes, perhaps). ISO and aperture adjusted to get a more desirable shutter speed. Exposure was generally a shade under normal (like -1/3 or -2/3 EV) as you don't necessarily want the background fully exposed (your subject will be too bright).
  • Standard (evaluative) metering -- I didn't need to mess with it at this event as the lighting was decent enough. (Spot metering has been a prior call in some dark caves I've shot in the past.)
  • One shot focusing. It's the most accurate unless you want to capture a burst of some David Lee Roth jump kicks (and the house lights are on). This was not that kind of show at all.
  • Single point AF or the very small plus-shaped point cluster AF. AF worked really well that night. Lighting was decent. Darker lighting + less modern AF glass = AF will hunt and you will miss shots.
  • Focused and then reframed on the wide glass (those are more DOF forgiving), but largely moved my AF point to the subject in the desired framing for the longer zoom I was using.

Composition lessons learned

  • Obvious, but must be restated -- shooting nearly fully open has a tiny working DOF. F/1.4 - F/2 on the 50 prime is fine for a single subject, but if you want more than one musician in the frame, I had to do one of the following:
    • Stop the aperture down to F/5.6 - F/8, which usually meant increasing the ISO even further (i.e. 8000+)
    • Wait for the two musicians to be about the same distance away. That happens less often than you'd like.
    • Wait for the house lights to come up.
    • Get further away, like on the balcony. Larger distance = larger working DOF for a given aperture.
  • Move your feet. Unless you know a band very well, your principal subject might not be where you want them to be.
  • Keyboards, mic stands can interrupt your framing, look unattractive, etc. Again, move your feet.
  • Knowing the songs really helps. With an emotive frontman or musician, if you know when the hook drops or the solo starts, you can time your shots for a rock face, fist pump, gospel arms, etc.
  • Don't forget the stage lighting. Try to frame up the subject against a stage spotlight, or possibly just shoot the band member as a black silhouette in a field of color. (Need to do that more next time.)

Output / post-processing (note I'm somewhat odd in that I just use PS's Adobe Camera RAW instead of LR, Aperture, DXO, etc.)

  • Skintones are flat and tough looking at these high ISO settings, even on my great low light rig. Extreme care has to be taken to avoid saturating skin tones in post processing, or your rock star looks like he spent a week in a tanning bed. Also, software that avoids oversaturating skin tones can often fail as the stage lighting (if you didn't back it out with RAW WB processing) pulls the skin tone out of 'skin tone range'. I need to do selective color editing in post, but I never do. More work than I'd like. I just did macroscopic RAW adjustments like vibrance and saturation, but at a fraction of what I'd normally do for the aforementioned skin tone reason.
  • White balance management is great with RAW, but I don't know if the goal is to subtract out the lighting tint on the subject or if I want to capture that as part of the composition. I can do either, but I wasn't sure which to do.
  • Noise reduction is unfortunately necessary as the ISOs are high. I generally hate what this does to details, so I do it sparingly.
  • Sharpness adjustments in RAW processing are a staple adjustment usually, but with low light it amplifies the noise. So I generally did less sharpening to limit the noise reduction needed.

Please set me straight if I've misinterpreted the concert shooting experience with my statements above. There may be a vital trick I am missing.

Thanks for your thoughts!

- A

Thanks for a very interesting and informative reading :)
 

RGF

How you relate to the issue, is the issue.
Jul 13, 2012
2,820
38
Great pix and very helpful post. Thanks
 

ewg963

EOS RP
Mar 2, 2012
355
0
Meriden CT USA
ahsanford said:
I was fortunate enough to get a photo pass to shoot a rock concert in my area.

I am not a pro photog by any stretch, but the chance to marry up my two great interests (music + photography) was too good to pass up. I've attached my really crude 101-level experience and lessons learned from the activity. I welcome the concert vets to straighten me out if I've come away with the wrong learnings.

Gear selection
  • Faster wins. Unless you are shooting a daytime outdoor show, you will 95% of the time be shooting close to wide open to avoid ISO values above 6400. Faster glass will let you walk that back to 3200, 1600, etc. depending on the light.
  • Closer wins. Shorter focal lengths handle longer shutter speeds better. The golden rule of a maximum shutter of 1 divided by focal length is about right. So a 50mm lens can get by with a 1/50s shutter, but a 200mm lens will need a 1/200s shutter, which often will require disastrous ISO levels.
    • So it's no surprise that I rarely see large sports glass off on the wings of concerts in large venues. I don't think I've ever seen anything longer than an 70-300L at Coachella once the sun goes gown. Most everyone I see in concert photo pits is carrying some sort of ultrawide (fishbowl, 14 prime, 16-35, etc.) and either a standard zoom (24-70 or 24-105) or prime (the 50 F/1.2 and the 135 F/2 are a regular sight). Some folks pack the 70-200 as well.
    • I recognize this point (closer = better) completely dismisses the value of different glass for framing and composition, but if you want a sharp shot in this light, you have to make tradeoffs, right?
    • Also, your proximity to the stage, the size of the stage, etc. will drive the lengths you need.
  • What I brought and what I used it for:
    • Body = 5D3. Not a selection issue for me as the alternative was my old T1i.
    • 28mm F/2.8 IS. Not super quick, but IS on such a wide angle is super useful in the dark. Used for wide shots up close at the stage (two guitarists in frame together, wide stage shot, etc.) as well as venue shots from the sidelines. Used it 5% of the night. More about that later.
    • 50mm F/1.4. This is my staple low light tool, but I noticed that it was front-focusing when I was setting up prior to the band coming out, and I didn't want to have to use MF. It stayed in my bag until late in the night for some balcony shots as a result. Used it for about 5% as well. Need to set the AFMA on that and get it sorted.
    • 70-200 F/2.8 IS II. A flagship sports / photojournalist / wedding lens, but F/2.8 is not ideal for concert lighting. That said, there aren't many faster options at this length (other than the impressive 135mm F/2 and the comically large (but equally impressive) 200mm F/2). Though I was planning on using the 50mm most of the night, I ended up using this 90% of the time. It fared better than expected on focusing in low light, but the concerns of length vs. shutter speed needs obviously came up, so the ISO had to climb. The 70mm end was not wide enough just a handful of times, but I made do.

Shooting up front

I got to the stage before the set and one of the organizers was on stage. I flagged him down and he explained the classic thing I've read about:

  • I had fifteen minutes stage access, i.e. right at the stage (in front). This is often phrased as being for three songs, but being a prog rock show, that could be 90 minutes. So, for this show, it was stated as '15 minutes'. Then I'd have to skedaddle.
  • No flash, of course.
  • No video, of course.
  • In that first 15 minutes, my head had to stay below the level of the stage, i.e. on my rear-end or kneeling. Thais was not a traditional pit -- it was a four foot stage at a concert hall.
    • This ended up greatly limiting my framing. I was limited to waist up shots of the players for the most part, and shooting the drum kit was simply not happening without framing out the bottom 30% of the kit (the drum risers were not particularly high at this event).
    • This requirement effectively killed the up close / wide opportunity of the 28mm lens. I had the awful choice of 1/3 of the VF being blocked by the stage or my two rocking guitarists being stuck in the bottom corners of a wide shot (not a good look, even after perspective correction).
  • For this show in particular, I could not mill about the aisles to shoot after the first fifteen minutes (house rules about blocking view or people leaving for the restrooms).

Camera Settings

  • RAW only. Say this ten times. I didn't even bother with the JPG + RAW as my card was rather full already. With ISO 3200+ and with crazily shifting lighting, RAW is really the only way to go anyway. JPG is useful for some shooting needs, but here, RAW is the best call.
  • Mode: I believe that Av, Tv and M all work (as always) provided you keep an eye on what you are not prioritizing. As a creature of habit, I shot aperture priority, but I was constantly working the triangle of Ap / shutter / ISO to get the best possible balance I could. Call it 'manual shooting with metering for better exposure'.
  • Default setting was wide open or perhaps 1/3 - 2/3 stop narrower, ISO 6400 (3200 with the fast primes, perhaps). ISO and aperture adjusted to get a more desirable shutter speed. Exposure was generally a shade under normal (like -1/3 or -2/3 EV) as you don't necessarily want the background fully exposed (your subject will be too bright).
  • Standard (evaluative) metering -- I didn't need to mess with it at this event as the lighting was decent enough. (Spot metering has been a prior call in some dark caves I've shot in the past.)
  • One shot focusing. It's the most accurate unless you want to capture a burst of some David Lee Roth jump kicks (and the house lights are on). This was not that kind of show at all.
  • Single point AF or the very small plus-shaped point cluster AF. AF worked really well that night. Lighting was decent. Darker lighting + less modern AF glass = AF will hunt and you will miss shots.
  • Focused and then reframed on the wide glass (those are more DOF forgiving), but largely moved my AF point to the subject in the desired framing for the longer zoom I was using.

Composition lessons learned

  • Obvious, but must be restated -- shooting nearly fully open has a tiny working DOF. F/1.4 - F/2 on the 50 prime is fine for a single subject, but if you want more than one musician in the frame, I had to do one of the following:
    • Stop the aperture down to F/5.6 - F/8, which usually meant increasing the ISO even further (i.e. 8000+)
    • Wait for the two musicians to be about the same distance away. That happens less often than you'd like.
    • Wait for the house lights to come up.
    • Get further away, like on the balcony. Larger distance = larger working DOF for a given aperture.
  • Move your feet. Unless you know a band very well, your principal subject might not be where you want them to be.
  • Keyboards, mic stands can interrupt your framing, look unattractive, etc. Again, move your feet.
  • Knowing the songs really helps. With an emotive frontman or musician, if you know when the hook drops or the solo starts, you can time your shots for a rock face, fist pump, gospel arms, etc.
  • Don't forget the stage lighting. Try to frame up the subject against a stage spotlight, or possibly just shoot the band member as a black silhouette in a field of color. (Need to do that more next time.)

Output / post-processing (note I'm somewhat odd in that I just use PS's Adobe Camera RAW instead of LR, Aperture, DXO, etc.)

  • Skintones are flat and tough looking at these high ISO settings, even on my great low light rig. Extreme care has to be taken to avoid saturating skin tones in post processing, or your rock star looks like he spent a week in a tanning bed. Also, software that avoids oversaturating skin tones can often fail as the stage lighting (if you didn't back it out with RAW WB processing) pulls the skin tone out of 'skin tone range'. I need to do selective color editing in post, but I never do. More work than I'd like. I just did macroscopic RAW adjustments like vibrance and saturation, but at a fraction of what I'd normally do for the aforementioned skin tone reason.
  • White balance management is great with RAW, but I don't know if the goal is to subtract out the lighting tint on the subject or if I want to capture that as part of the composition. I can do either, but I wasn't sure which to do.
  • Noise reduction is unfortunately necessary as the ISOs are high. I generally hate what this does to details, so I do it sparingly.
  • Sharpness adjustments in RAW processing are a staple adjustment usually, but with low light it amplifies the noise. So I generally did less sharpening to limit the noise reduction needed.

Please set me straight if I've misinterpreted the concert shooting experience with my statements above. There may be a vital trick I am missing.

Thanks for your thoughts!

- A
ahsanford said:
A few hits and one clear miss (the drum shot) to show how much I still have to learn!
Great post and pics and thank you :) I really liked the drummer pose.
 

celliottuk

EOS M50
Jul 20, 2012
32
0
This is an excellent write-up. I think it's great that you have taken the time to help the community.

I would like to add a couple of other pointers (I have been doing concert photography for 5 years, and got a whole lot of things wrong in the first years, so this is a list of my "Battle scars")

1.Make friends with security. If you have time to get to the venue early, talk to them, they are really great people (in the most part), and will make your life a whole load easier, and might even give you access to areas that you really shouldn't have access to.
2.Do what security say! It doesn't matter if you have a photogs pass, if security ask you to move, or whatever, MOVE-you won't be able to hear why they want you to move, and having a conversation with them is impossible. Failure to comply with their wishes inevitably and quickly leads to you being removed from wherever you are.
3.Use two cameras. You don't have time to change lenses
4.Learn how to replace a memory card(or change lenses if that's what you need to do) in complete darkness
5.If you are in the photographers pit, don't stand for any longer than necessary in one position, you will annoy the fans, and either they will give you a crafty thump in the back, or they will ask security to remove you, either way, not good
6. General band photography (i.e. doing all the bands in a multi-band line-up) is generally not permitted, regardless of what your pass says, you need the permission of each bands management to take photos. If you don't have that, again, security will be called
7. Take crowd reaction shots. The bands just LOVE pictures of the crowd going wild
8. The bigger the band(Later on in the event), the more of a light show they get, so, if you are shooting an early band, be ready to push the ISO as high as you can get it without totally intrusive noise appearing in the shots
9. Take a few "Safety shots" in automatic, then move to fully manual, you will end up with much more impactful shots that show the band being flooded with light, or maybe, just getting a musician with a little rim light.
10.Listen to the music. The lighting may be tuned to the music that's being played, and by timing your shot to go with the beat, you might end up with a better lit target.
12. Wear ear plugs! I'm now pretty deaf as a result of being in the photographers pit for too many hours, which is right next to the speakers. Don't end up like me!
13. If you are in competition with other photographers a) respect their needs-don't get in the way of their shots b)Get your shots off to the commissioning magazines/web-sites/e-zines, before the other guys do. (You are in competition with them!) "Fast" is commonly better than "Best", when it comes to what shots an editor chooses
 

CanadianInvestor

EOS M6 Mark II
Mar 2, 2013
57
0
Thank you for this informative and exhaustive Instruction Manual. I go to a few gigs and now will have to find a means of getting in as a photographer and at least pretend to know what I am doing. However, I really like to enjoy the music and the atmosphere and therein lies my problem!

Thanks, again.
 
<-- start Taboola -->