Master Class. How to film concerts. How to photograph concerts correctly How to photograph a stage from the audience

Scrolling through the Internet on the topic of photography of concerts, I did not find any sensible information, they mainly write about accreditation. I only had to once write a request for accreditation of filming a Dolphin concert, and even then I just asked if they would be allowed to take pictures. I sent the administrator a standard text with links to my work, wrote that I will not post bad shots, I never use a flash, which will not disturb the artist's comfort, and I can send pictures for approval. They answered quite quickly that there was no need to worry, everyone is allowed to shoot at Andrey's concerts.

I will write about my own stuffed bumps and my conclusions, which, I hope, will help you in your experience of concert filming and answer any questions you may have.

1. Technique
The optics should be as fast as possible, and the carcass should be as fast as possible.
As for the carcass, this is not as critical a rule as it might seem. I shot no worse on the canon 450D, but it's a shame that I missed a lot of "tasty" frames due to the fact that the camera was in the "busy" state. Having switched to the canon 7D, there were no such problems.
But optics is critical. I tried to shoot with aperture (aperture) of 3.5-4.5 units: it turns out awful, as if a concert of blacks in a coal mine. Therefore, I use the "fifty kopeck piece" canon 50 / 1.4. I thought to switch to 35 / 1.4, but on a camera with a crop factor there will be no special wide-angle effect, since the result will still be a "fifty-kopeck piece".
It is also very important to have high-speed memory cards. A slow card will negate all the charm of a modern carcass.

2. Settings
According to the settings during shooting, everything is in the first lecture of our photo school. I moved away from the stage - you can decrease the aperture value, come closer - do not forget to increase it a little, otherwise the frame where the artist's nose is in focus and super sharp, and the rest of the face is out of focus - not comme il faut. I don't use flashes, it kills all the light-color pattern on the stage. In addition, the flash can illuminate a not entirely new backdrop of the scene, such as a patch for a projector screen.

3. Light
The light on the stage is often very chaotic, the movements of the artist are also not always possible to predict (although with experience you begin to foresee a lot), so I shoot serially. This is still good at long exposures, it makes the shots sharper. The light is different on different sites: expensive, good and strong allows you to shoot with a shutter speed of 1/100 sec. and in short, and if weak, then you have to be content with 1 / 40-1 / 80 sec. with all the ensuing consequences. I set ISO 400-800, on crop the physical size of the matrix is ​​smaller and therefore it makes more noise. There would be a full frame, it would have sold up to 1600 units, or even more, but the noise is not critical, modern “noise controllers” do an excellent job with it, and sometimes noise brings some charm to the frames + different layer mixing modes can give an unexpectedly good result.
If there is a competent light at the remote control, as a rule, during the chorus, the light and color pattern is repeated, and you can not shoot the first chorus, but watch and remember, and on the second you can already start meaningful shooting. If smoke machines are used, then the frames are many times more interesting. Literally every ray from every light source looms. I try to take as many shots as possible while the machines are running. During a break between groups, you can always view and delete those that are not interesting.

4. About color
Blue gives us a lot of trouble. I don’t know why it happened, but most of the time the stage is flooded with blue light. At different venues and at different artists. The action itself looks great, but for a photographer it's terrible, since all the faces in the frame turn out to be a bluish tint. If the frame is successful, you can convert it to b / w by mixing the channels, having achieved the most normal shade, and then also toned it. This approach sometimes saves.
There is also a little trick: from time to time to look with two eyes. Let me explain: light sources of the "head" type rotate according to the same algorithm known to them and the light source, it is difficult to predict their movement, but there are sources moving along one definite trajectory. And even when the blue light is on stage, a white or yellow beam can pass through the artist. When one eye looks into the viewfinder, and the other sees the overall picture, then you can choose the moment when you press the shutter. Here is an example of almost the same frame, but one while flooding the scene with blue light, and the second with the caught beam at the artist:

5. Strobe
It is not used very often, usually on one or two songs during the chorus. With it, you can safely set the settings "like on a sunny day" and as soon as the stroboscope starts to puff, you have to shoot serially. 1-2 frames usually fall into flashes. It turns out pretty impressive:

6. Backlight
It also looks impressive. It happens, however, that there are very powerful sources. But they slowly "fade" and at this moment it is necessary to shoot. If removed when they are working at full capacity, then everything will be overexposed. It is impossible to reconfigure the camera in 1 second, and by releasing the shutter button and waiting for this very second, you can get a good shot.

7. Position in the hall during the concert.
Ideally, you need to move around, choosing a variety of angles. Driving to the VIP tier will help in order to remove the general plan from the balcony. But it so happens that you are squeezed from all sides and there is no way to move. Well, then it only remains to shoot from one angle. In processing, you can reflect mirrored and there will be a sense of variety)) But here you need to pay attention to the inscriptions both on the artists and on the stage, they will also become mirrored))
Here's an unfortunate example from a recent one (Cryo's inscription on the artist's shirt)

8. Format
What format to shoot? Of course in RAW. This provides tremendous processing possibilities. Metering the exposure is unrealistic, so you set the values ​​from experience, but from a seemingly dark RAW you can often draw a light JPG from a seemingly dark RAW.

9. Sound
It is sometimes very loud, right up to unpleasant sensations in the ears. Especially on the headliner (main group). Here either earplugs or in-ear headphones are saved from the player. And the coolest shots are right at the edge of the stage and next to the sound sources.

10. Speed
You need to know your technique by heart and change the settings focusing on the information in the viewfinder. Sometimes you just don't have time to look at the settings screen, and sometimes you find yourself squeezed by the crowd so much that it is difficult to move the camera away from you.

11. Weather nuances
In winter, it is better to come to concerts in advance, so as not to shoot directly from the cold in a warm room, and in summer the temperature in the club and outside its walls is practically the same.

12. Selection of photographs
First of all, I select according to the criteria of the emotionality of the moment, light, color, sharpness, everything is as usual, but it is in concert photos that you can capture just a storm of emotions, very bright, as well as a sea of ​​diverse light, which cannot be achieved with a staged photo. All knowledge here works to its fullest, both in composition and in color. For example, I had to pass the fourth stage in our photography school, go back to the third and start using filters more in processing, so that the colors would be “friends” with each other. And some errors, like a blocked horizon, I think are forgivable, given the shooting conditions, and sometimes they work in a plus.

13. Placement of photos
In addition to their website or blog, all groups have their own pages on social networks, they have their own fan clubs. By posting our pictures there, we see that they quickly spread across the network and the question of accreditation disappears. And these and other artists already invite you to their performances as a photographer, if the footage is of decent quality. And sometimes they can invite you to shoot a soundcheck. It will turn out 2 reports, a concert and a backstage))

In general, concert photography is probably a difficult genre, but it develops very useful skills, such as reaction, the ability to blindly work with technology, notice all the details, anticipate the plot and many useful skills, even endurance)))

Video filming of concerts is a difficult genre that not every operator can handle. These services are offered by specialized companies. Before placing an order, it is advisable to familiarize yourself with the completed work of a specialist.

Filming of the concert of Nina Shatskaya and Olga Kabo

Videography of Vitold Petrovsky's concert

Features of filming concerts

Working in the auditorium as a videographer has some peculiarities. Not at every event, such specialists are allowed to go on stage along with the equipment during the artist's performance, so they have to shoot from the audience. You can not interfere with the viewers, doing their job, block their view, but the quality of the video should not suffer either. To get an excellent result, you need a lot of experience together with theoretical knowledge of the basics of cinematography.

Filming a New Year's concert with a cinema crane

Filming of the festival Festivals Committee "CITIES LIFE"

Professional filming of concerts is one of the main services of our company. Here you can order the service of any events. Gone are the days when the performances of artists on the stage were filmed with amateur equipment, which made the frame tremble and the video contained extraneous sounds. High professionalism of the company's employees allows filming concerts at the level of leading TV channels. A progressive technique is used here:

• tripods for high-quality shooting of long shots;
• several professional cameras to work from different points;
• external microphones for separate recording of audio tracks from the director's audio console;
• camera cranes for video filming from a height.

Experienced specialists work closely with concert organizers and stage workers. They attend soundchecks and dress rehearsals of concerts, study the score of the lighting fixture to tune the equipment. At the exit, they get a decent result.

Filming of Ken Hensley's concert in Moscow

Video filming of a rock concert at Crocus Hall

Shooting and editing of music videos

Every eminent and novice artist should have a music video and more than one. Mini films, which are filmed to music, are broadcast on TV channels, thanks to which the popularity of the singer and musician is growing. Our company makes video filming of music videos for performers. Experienced cameramen work closely with talented directors to carry out all their ideas on the set. After the main work, the stage of mixing, editing the clip begins. If you want potential fans to know about your work, if you strive for fame, use our services. Cooperation will bring positive results.

Video filming of the concert of the BI 2 group

Shooting a musical for Dance studio by World class

Shooting mass events and city holidays

For such events, several video cameras are needed to record. One camera will not capture the full scale of what is happening. Multi-camera shooting of festivals or other public events captures actions that cannot be seen from one place.
Video filming of holidays is carried out from different angles by several operators. Our company has special equipment for work: camera cranes and rails. The edited video turns out to be realistic, without hesitation and bad moments.

Taking pictures of a concert is very simple, although a little more difficult than any other event, since it requires preliminary preparation.

At the concert, you should try to get into the dance floor, if there is one, of course, in order to be closer to the stage and be able to move around. Sitting in the gallery, you will not photograph anything worthwhile.

You must come to the concert in advance, at least an hour before the start, if the concert is large, so that you can choose a suitable position, look around, figure out who will stand where and what to play. In small clubs this is not necessary.

There is no need to photograph musicians when they tell something funny in between songs, this will still not be visible in the photo. Better to concentrate on the emotions in the climax of the numbers.

Think about the angle you will be shooting musicians from, because each musician may need a different angle. Somehow, when filming a guitarist, it is important whether he is left-handed or right-handed, it depends on which side it is better to stand.

You can shoot in any mode you like. Personally, I prefer to set the ISO higher, so that the shutter speed is as fast as possible, so that movements are not blurred, usually 1/250 is enough. The focusing type is tracking by one point. One point is needed so that your camera does not focus on the hands from the crowd, which tend to appear at the most inopportune moment.

The aperture itself and the shutter speed must be selected already in the course of events, referring to the result on the screen. When it is unclear what kind of lighting will be, or it is very difficult, set the automatic white balance. If there is a lot of yellow and red in the lighting, then it makes sense to set the balance to an incandescent lamp. In general, you have to experiment and look for which settings work best.

Among other things, it is important that you know the repertoire and can predict what will happen next.

If you are not familiar with music, then most likely you will simply miss the most interesting and unexpected moments.

Turn on continuous shooting and do not spare the frames, then you can always delete the excess. It is important here that you have a bigger and faster card, and even better to have a spare one. 3000-4000 frames per concert is a common thing.

Sometimes lasers are turned on at concerts. First, avoid direct eye contact with the laser, it is very harmful to health. Secondly, do not get carried away with the lens to catch the direct laser beams, this can spoil the matrix in your camera. You don't need to be afraid, you need to know. If you want to take beautiful pictures of laser beams, then you will have to increase the shutter speed to about 1/30.

You may not be allowed to go to some concerts with a camera, or you may be asked to leave if you are caught during a performance. Think in advance what you will do in this case.

Here are photos from some of the concerts for some inspiration:

Thank you for your attention.

Photographing concerts, shows and theatrical performances is often difficult for an aspiring photographer. The main difficulty in photographing concerts and theatrical performances is the lack of light. And when there is not enough light, the first thing that comes to mind is to turn on the flash. Never do this for at least two reasons:

• when photographing in a theater, the fired flash distracts the actor (just like a cell phone call: o (
• when photographing at a rock band concert, which usually takes place in large rooms, for example, in a sports palace, or even at a stadium, the power of the flash is simply not enough to sufficiently illuminate your favorite performer.

Many professional photographers advise you to shoot with a camera with a large kit - usually

If you have a fast telephoto lens, then your task is greatly simplified. However, high-aperture telephoto lenses are very expensive, therefore, it is better to use a shorter-focus lens or even a high-aperture lens with a fixed focal length, for example, the same prime-fifty with an aperture of F1.8. In this case, you have to "break through" closer to the scene and shoot from close range.

If you shoot with a DSLR camera, and even complete with a fast telephoto lens, you should remember that restrictions are often imposed on photography of a theatrical performance, concert of a famous rock band or pop star: you can shoot with any camera, but its size should not be larger than a soap dish ... Therefore, the concert security may prohibit you from photographing by requiring a special permit - the accreditation of the photographer.

If you shoot with a compact camera (soap box), then avoid using the zoom - as the focal length of the zoom lens increases, its aperture decreases quite noticeably.

In any case, whether you are shooting with a mirror with high-aperture optics or a compact camera, you will have to increase the sensitivity of your camera's matrix to acceptable limits. You do not need to set the maximum right away, because at the same time on the pictures. If you print out photographs taken at a concert in large format, then after shooting it is very important to process the photograph to reduce the noise level.

At the beginning of the concert, pay attention to the specifics of the stage lighting and the actors. There are quite a few different lighting fixtures used at concerts and in the theater, and very often spotlights provide sufficient lighting for shooting at moderate ISO values ​​- just wait for the right moment.

If your camera has manual focus, then turn off autofocus, because in low light, autofocus is very unstable and only makes it difficult to take photos.

The same goes for the mode - a completely manual M mode will always be preferable, since the rapidly changing lighting of the stage and the actors can "trick" any automaton.

Turn on burst mode and shoot not just a lot, but a lot !!! When you come home, you will erase 99% of the frames, but 1% of the successful shots taken at a rock concert is a good result even for a professional concert photographer. The more you practice, the more often you will get it.

• Difficulty: Medium
• Completion time: 4-5 hours
• Requirements: fast lens, earplugs and concert!

Photographing at a concert can be a challenge for aspiring photographers. Without the right equipment and realistic expectations, this area can be one of the most frustrating areas to work with. When I started filming concerts, I read everything I could find to prepare myself in the best possible way, and yet most of my lessons were not easy for me. Trial and error aside, here are a few things every concert photographer should know.

Step 1: Correct Lens

First, you need a fast lens. If you are not familiar with this term, it is used to describe lenses with the widest possible aperture (smallest f-number). You can use a zoom lens with a maximum aperture of f / 2.8 or a prime lens with an aperture of f / 1.8. For most of my live shots, I use the 50mm f / 1.4 prime.

Using a flash is an option, but you cannot completely rely on it. Many venues, bands and journalists adhere to the “no flash first three songs” rule, or prohibit the use of flash altogether. This is why it is great to start with a “fix”. It will allow you to get great sharpness, and has a large aperture.

Step 2: speed and how to capture it

Second, keep in mind that this is a passive form of photography. You will not be able to manage people or exercise any control over the unfolding action. Your advantage is being able to compose shots on the fly. Events will develop at a frantic pace, and you will need to keep track of them. Musicians with experience in performing, most likely, have a worked out plan of action and their own regime, or they just put on a show and move around more than all the objects you are used to shooting.

As is most often the case, the simplest answer is the correct one; you need a fast shutter speed. That is why I put such an emphasis on a fast lens. With it, you will be able to best photograph musicians at a shutter speed that cannot be used with a whale lens or other limited by maximum aperture, without loss of exposure. Many of my favorite live shots were captured at 1 / 160th of a second and at f / 2.0.

Step 3: Sensitivity - no, not the same

Third, consider the context and purpose of your footage when purchasing new equipment and choosing camera settings. ISO plays an important role when we talk about the capabilities of your camera and how it handles noise. As you probably already know, the higher the ISO, the more sensitive your camera's sensor is to light, and the brighter your image will become by adding more grain to the frame.

Many of the newer camera models have much better performance at high ISOs with less noise and better images, so this is something to look out for when you decide to upgrade your body or buy that new fix.

Along the same lines, keep in mind the following: a fast shutter speed obtained by increasing the ISO from 800 to 1600 (for example, from 1/60 to 1/125) can make a big difference in getting a sharp image that captures the movement of the performer, instead of a blurry shot. Many publications and websites will prefer a sharp and slightly noisy image to a blurry picture without noise.

Step 4: do your homework

Fourth, it might not be as exciting as the show itself, but do some research before heading off to the set. You can gather a lot of useful information about how the musicians move, what the concert hall is like, what kind of lighting is used, just by looking at photos of previous performances, which will help you take great pictures and surpass other photographers in the hall.

Many photographers blog about performances they have filmed, give tips and tricks, and write reviews of the shows they have attended. These records are a gold mine for finding information; they often contain information about specific camera settings and equipment used. A great place to start is Todd Owyoung's I Shoot Shows site.

Step 5: be realistic about your expectations

Many are attracted to this type of photography, beckoning with magazine and album covers, roaring crowds and meetings with rock stars. I am definitely not telling you that you should give up your dreams and give up hope, just be patient. Publishing in one form or another and meeting your favorite band are certainly achievable goals, but expecting this to happen within weeks or even months of filming is unrealistic and dishonest to you. It takes time to adapt, hone your skills, and get noticed. Once you do that, you will be happy to be involved.

Step 6: Save Your Hearing

I dare to suggest that if you are passionate about any type of concert photography, you are also a fan of music in one form or another. Otherwise, I take off my hat to your interest in this type of photography, in view of the damage it can cause to your hearing. It's loud at concerts, so you might want to get some earplugs. Even if you buy cheap disposable packaging, I highly recommend that you do so because it will allow you to continue to enjoy your music for a few more years after you step out on your chosen path.

This is a very simple step that may seem uncomfortable to some, but lost hearing may not recover over time, so this is a very important part of concert photography. I personally use the ER 25 Musician Earplugs from Etymotic Research, which fit my ear to the right shape and reduce noise by 25 decibels. Find a pair that is affordable and comfortable for you, and wear it with your photography gear.

Step 7: Get access

The ultimate goal of the concert photographer is to put together a small network of journalists and editors with whom he can work. Journalists will help you get access to gigs as they work for bands and labels. However, now you are faced with the problem of chicken and egg in concert photography. You cannot access a concert without the aforementioned connections, but you also cannot forge those connections without a portfolio of your footage of concerts.

This is not as big of a problem as it might seem. If you don't have a concert portfolio, you just need to start at the bottom. You can contact bands or concert halls to see if they need performance photos, take advantage of free shows or battles between groups, or pay for tickets yourself until you reach a certain level.

Warning: Concerts of more popular bands with expensive tickets are likely to have a photo area (a section fenced in by barriers) and require a photo pass to take pictures. If you ignore this warning, the guards may politely ask you to leave if they catch you filming.

Step 8: filming the show

Okay, you've come this far. Isn't it too much work for a simple concert filming? Maybe, but I'm trying to help you get it right the first time. You've packed your bag and checked out the equipment, and now you're ready to film your favorite musician.

Please arrive early and remove the warm-up. This is important for a number of reasons - you will get used to the lighting in the venue, you will energize the crowd, and most importantly, you will practice shooting in the specific conditions of that particular performance, which will allow you to get the best results for some of the headliners.

It's also worth noting that some of the “warm-up” part doesn't get much attention from photographers, so they'll probably be doubly grateful for your hard work. Also keep in mind that you should shoot in RAW because it will help you stretch photos during processing in case of extreme lighting conditions that you may encounter at a concert.

You may have to move as you shoot, because taking all the shots from one point is boring and won't help you develop. The problem is that most of the time you will have to work your way through the crowd, and most concertgoers prefer to stay where they are.

Be polite, smile, point at your camera when necessary, and just ask if you can step in their place for a song or two to take a few shots. Remember to say thanks when you're done and keep moving. This is the best approach I've found because no one likes rude photographers shoulder and elbow to work their way through the crowd.

Sit comfortably close to the stage, select the initial settings on the camera (for example, ISO 800, 1/125, f / 2.0) and take a few shots. Check the exposure and adjust the camera accordingly. You will likely find a setting that works for most lighting conditions in a given concert hall, and you only need to make small adjustments to shutter speed and aperture, allowing you to focus on observing the action and composing your shots. Remember to have some fun, after all, this is a concert and if you think you missed a shot, take another one.

Step 9: What's Next?

You made it home and survived all the sweat, noise, and commotion - but the job isn't over. If you're filming for a publication or any blog, you probably have a deadline. Even if not, you still need to assign it yourself. Timely availability of pictures will serve to build your good reputation.

Since this is just a general guide, I won't go into detail on the processing, but I must point out that you will eventually develop your own style. Most of the processing will be done in your favorite RAW editor such as Apple's Aperture or Adobe's Lightroom.

You should follow the general rules of journalism when it comes to improving the quality of photos without distorting the essence of the events that actually happened in the speech. The point is to experiment within reason.

Conclusion

Concert photography is fun and rewarding, but it is unlikely that it will bring you enough income to pay your bills solely with these images. If you're an avid music lover or just looking for another way to unleash the creative side of your photography, it's well worth the effort and this guide should get you started.

There are no secrets or shortcuts, and it can be difficult to measure your progress, but you will be happy that you are doing it and you will meet many amazing and interesting people along the way.