Dynamics of a Concert Photo

Some of my favorite photographs I've ever taken were of musicians performing live in concert. To me, there is no more dynamic of a venue to photograph. It is by far the most difficult and technically challenging assignment I've come across and, well, the most rewarding.

I have had the great fortune to photograph some incredible bands over the years. They all have their own dynamic that forces me to adapt on the fly and pull off some feats of incredible balance and camera control. To achieve stunning shots like I have taken requires some really good equipment, mad negotiation skills, the ability to compose a shot of a really fast moving subject in near darkness and, sometimes, balls the size of coconuts.

Luke Bryan

First of all if you're uneasy standing in front of a crowd or nervous about meeting celebrities then don't attempt it. I found myself constantly on stage shooting the crowd or working with the band to talk about what they wanted. The crowd generally loves to have their picture taken and the bands love to have shots of the crowd so you can't be shy. When I photographed Chevelle I met them before the concert to talk about where they wanted me to shoot from and for how long I was to shoot from the stage. If you act even the slightest bit nervous they will kick you to the curb because the last thing they want is a photographer ruining the show.

All American Rejects

The mad negotiation skills come in when you meet the iron curtain, also known as management. They are the ones who tell you when and where to shoot most of the time. Almost all of them will give you a small window of opportunity to shoot from behind the barricade by the stage, the most coveted position in the entire venue. (This is where the crowd tells you all the things they are willing to do to you if you'll just get them back there to meet Bret Michaels). Generally a photographer has about three songs to shoot from that close to the stage and that's where the best photos will be taken. So negotiating the amount of songs you can shoot through and from where is almost the most important part of the whole event because it dictates how many close-up photos you will get. You know, like the shots of All American Rejects jumping in the crowd.

Centerfold

Being able to shoot a well composed shot of a rock star jumping around in moving light is difficult and requires fast acquisition of your subject without disturbing the show (believe me if you get in their way you'll get kicked out). Also you will need a high quality lens with the ability to utilize low available light. The smallest aperture you can get away with will be about f2.8 and anything larger will only benefit you, however you will rarely find a larger aperture in anything but a prime lens. You really need a wide angle zoom like a 24-70mm for the close up shots and a 70-200mm for the times you have to shoot from the rear or the balconies. It is rare that you will be able to shoot with a flash and even then the photos are never good with a flash. You have to time your shots to coincide with the moving lighting as well as the moving subject. I promise you, rock stars never stop moving.

Chevelle

It is difficult to not watch the show and easy to forget you're there to photograph these awesome bands. There is a balance in finding the right shot and getting distracted by the action of someone like Big Boi or Anberlin tearing up the stage. Getting the shot you want sometimes takes some balls. I often times found myself hanging on the the rafters with one hand taking pictures with the other to get the "money shot". Making your way through a drunk crowd that's trying to spill beer on your $5,000 camera is a feat in itself. I found in one venue that standing on the bar was the best shot to get above the crowd. One time I was yelled at by the management of Chevelle to get off the bar because he thought I was distracting. I pretended not to hear him, continued to photograph and ended up with one of my favorite images of the night. I could have gotten kicked out but it was worth the risk. There is never reward without risk, in my opinion.

 If I could have it my way I'd photograph live concerts every day. It always makes for incredible photos and I enjoy the challenge of capturing the raw feeling of the show. To freeze a moment in a dynamic event like a concert and make that shot convey the feeling I had when I was there is an experience I will always cherish.