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I bit the bullet and bought a 24mm f/1.4 with concerts in mind... still haven't had a chance to take it to a show yet but it's working great for everything else so far. 
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Jul 31, 2009 20:18
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pr0digal posted:Metric don't miss them, Emily Haines is one of the most photogenic front-persons I've ever shot. I've probably shot them 3 times now and every time I end up loving the results.
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Aug 1, 2009 06:10
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there's an easy solution to that problem... you just don't give them your best shots. that or you don't give them the high-res, you give them something that'll work for a small flyer or web ad but not for full size print. let them negotiate the rest after that, as long as you don't sign anything the ball's in your court.
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Aug 5, 2009 17:42
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guys, you've gotta be kidding... I completely agree that he wants to set the price higher to retain rights and you don't want to compromise but let's be realistic here. This is very likely a small unsigned band (they're the only band on their own record label?) If you know anything about small newly formed bands you'll know that the one thing they don't have is $1000 laying around for promo photography. This is completely different than if some band on Matador Records or SubPop approached you and wanted help with some promo shots. $1,000 might be more than they spent to record and press their cd's. (if they even have mastered cd's, they might be recording everything in Garage Band and burning them at home). Working with a band on something like this is a great way to build your portfolio and grow your client base, but if you come at them with some pie in the sky figure and they don't see some stellar promo work to back it up they're going to be scared off. Worrying about giving up rights is one thing when you're an established photographer that can afford to potentially turn away business opportunities, but if you're just getting started it's much better to build friendships in the music community (especially if you're in a small town). Trust me, musician's talk, if they like the work you did and feel like they got a good deal then you've made a great networking ally. I'd suggest you tell them that you tell them you charge $300/session, a session can be up to x hours (establish from the get-go) and includes post-work (important to clarify with them that you spend time editing the photos, a lot of people have the misconception that you just take them and are done). That will give them the option to do one session or two sessions to save time. Explain to them that you don't typically sign over the rights and why you don't but that maybe you'd be willing to give them unlimited web usage and limited print usage or negotiate an additional fee for full ownership. Most bands will want to update their promo shots down the road so there's lots of opportunity for continued work, but if they feel like they got ripped off the first time around then you can bet they'll go to someone else the next time. $300 for a 3 hour session and 3 hours of post is MORE than enough money for a hobbyist/amateur photographer, $50/hr is good money to do something you enjoy while you're learning the tricks of the trade. edit: did I forget to mention that we're in a recession? and bands aren't exactly making a lot of money in this day and age? and photographers are a dime a dozen since the advent of digital photography?
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Aug 7, 2009 00:06
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HPL posted:Have you even bothered to read the thread? We've been saying he should charge that much because they want full rights. If the band is so broke, they shouldn't be so pushy on details like that. if they end up becoming the biggest underground hit of the year they're going to be having another promo shoot done a week after they're playing shows to more than 200 people and they'll start using those photos. My point with breaking it into a per-session cost was that hopefully they'd just say "let's do both stylings in one session to save costs" and you'd make them feel like they're getting a bargain and save yourself an extra day of work in the process.
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Aug 7, 2009 11:09
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Bottom Liner posted:I always respond to questions like that with something along the lines of "oh ok, next time they play a free gig I'll do some free photos." or tell them you'll give them free photos if they're giving their dvd's away for free. I'd post that story on an Unearth messageboard or something too (if one exists). Bands should be held responsible for poo poo like that, best way to do that is by making them look like dicks in front of their fans.
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Aug 8, 2009 03:13
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evil_bunnY posted:Presumably there's a custom function to disable the canon flashes from actually firing so you can use them as very expensive AF lamp. hell yes... going to buy one just for this now for use with my f/1.4's. seriously though I've been putting off buying a 580exII and this might be just the cause I need for one. I hate having to wait for AF in super low-light situations where the subject is constantly moving (ie concerts).
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Aug 19, 2009 22:20
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Sadi posted:I shot my first show the other night. Heres 3 of what I consider the best. I have a few other ones I thought were pretty good but I took them off flickr by accident and haven't bothered putting them back up. First lesson learned, bring ear plugs. Any way im not sure what post I should do on them if any at all. Id love to hear some input. man, DSLR's have changed the game sooo much. If I showed you photos from the first concerts I shot with a film SLR you'd question if I had any business owning a camera. Pretty good shots for your first gig, a few small things. The first shot has too much room at the top, would benefit from a tighter crop even if it means losing the lights. Second shot captures the action well and is pretty good compositionaly considering the monitor in your way, only problem I have with it is that it's an awkward (unflattering) expression from the subject and your highlights are blown (pretty much unavoidable with harsh red light like this). Third shot is out of focus (easy to do when shooting at f/1.8, just something you'll get better at with practice.
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Aug 24, 2009 18:35
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Cyberbob posted:What do people favour for their PP workflow when processing gig photos? White balance, contrast, blacks, bit of saturation, then noise reduction via a particular app/plugin? lightroom.
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Sep 13, 2009 23:42
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Haggins posted:Ok I need some help here. I just emailed the PR person for Cannibal Corpse's record label asking to shoot their Orlando show. I got this reply: "I'm currently shooting freelance and was intending to give the photos to a local music blog" then quickly dig up the email address for someone with a music blog and ask them if they'll run the photos.
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Sep 15, 2009 01:33
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I'm shooting a big music festival in Portland all weekend so forgive me if I spam a lot of photos the next couple of days but it's been a while since I've shot any number of shows and I've got some new gear to play with. my camera bag is pretty heavy at the moment. Canon 5d MkII Canon 50mm f/1.4 (my workhorse for the last 4 years or so) Canon 24mm f/1.4 (new purchase, loving it) Canon 580exII (rental, need to purchase one at some point) Canon 70-200 f/2.8 IS (always rent this for the bigger venues) speaking of fog... the Arctic Monkeys had a lot of fog last night.            full set here http://www.flickr.com/photos/justinkent/sets/72157622287847763/ and a video here http://www.flickr.com/photos/justinkent/3934676887/in/set-72157622287847763/
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Sep 20, 2009 00:21
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HPL posted:More stuff. man, are you kidding me? I'd KILL to have that much light at most of the venues in Portland. LED lightwalls are amazing and LED floods are going to provide for WAY more color possibilities. Does your camera do spot metering? if so it shouldn't really be an issue. What aperture were most of those shot at? looking at your gallery you've got more than enough light to shoot at a higher shutter speed which should make shooting at that place a breeze when you figure out how to meter for the performers. MMD3 fucked around with this message at 01:45 on Sep 22, 2009 |
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Sep 22, 2009 01:43
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Haggins posted:This ended up working perfectly, I'm in to shoot Cannibal Corpse. pretty straight forward... 1) contact a band about taking photos for them, offer your photos for free use in exchange for a pass. (probably going to work best with a smaller band). problem with this is they may give you some stipulation that you're only cleared to shoot that band but getting your camera in is 80% of the problem so that should work either way. Also you can count on them not having different wristbands for each band so unless the PR folks are watching you like a hawk you won't have trouble. 2) find a metal publication to start shooting for, this will solve lots of your problems in the future if you're confident enough that you can deliver some good shots for them or if you already have good stuff in your portfolio to convince them with. If this is really a big festival it might be tough because they'll probably already have photogs for it.
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Sep 28, 2009 01:24
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rockcity posted:gently caress Florida drivers. I live 90 minutes from Tampa and I left my house at 5:30 to go shoot Blink 182 for AP. About halfway in I get stuck in a gigantic accident that took 2 hours to go 5 miles. Then I get through that and I'm hauling rear end just so I can make it for Blink, then literally 500 feet before the exit there's another huge multi-car accident that left me literally parked on the highway for 20 minutes causing me to miss the show. 4 hours of driving one way for nothing. ouch, for AP? how do they take that?
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Sep 28, 2009 16:46
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The Bronx:     hosed Up: pretty bad motion blur on this one unfortunately.   "did somebody lose an ipod? what was playing on it? yup, Aesop Rock, here you go!"  not sure which of these I like better, I think the first one but like his expression better in the second.   showing his junk to the drummer   more here: http://www.flickr.com/photos/justinkent/sets/72157622435061244/
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Sep 30, 2009 23:10
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HPL posted:And that is why I largely gave up on big name concert photography. This isn't a career for me, so I'd rather have a ton of fun shooting small bands, all else being equal. completely agreed. I wish all pro photographers could have the power to say FU to band's PR and tell them if they don't give them favorable treatment and a decent vantage point then they could take their publicity and shove it.
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Jan 6, 2010 01:20
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Four Banger posted:sorry I didn't see this sooner. You'll get great photos of Monotonix, but you have to be willing to get into the fray and your camera will almost certainly get knocked around so good luck. For some reason my Monotonix photos from a few years back aren't up on flickr, better go take a look for those when I get home.
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Jan 8, 2010 22:27
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psylent posted:The Crooked Photo Contracts good article, I wish photographers would figure out a way to band together to tell PR firms that do this to F Off... I'm generally an anti-union guy but man a concert photographer's union could be pretty rad on a regional basis.
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Jan 15, 2010 20:52
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psylent posted:I saw The Decemberists, I was bereft of media pass, but Colin Meloy was nice enough to almost jump on me towards the end of the show: ahhh, a Portland beard in Aussie-town.
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Jan 19, 2010 19:40
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anybody want to trade cities for a few weeks? seriously getting tired of my venues lighting... starting to feel really stagnant as far as what I can achieve.
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Feb 5, 2010 03:36
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wtf, where are the photos of Will.I.Am flying around like a clown?
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Feb 10, 2010 09:26
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Eeek posted:There was other Non-Fergie bands there, too: I'd definitely brighten some of these up a bit... were you really shooting at ISO 400? Why not bump it up to 800 to get a better exposure? some of these are a bit on the dark side. MMD3 fucked around with this message at 17:13 on Feb 10, 2010 |
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Feb 10, 2010 17:11
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16-35 2.8 is my go-to lens for shooting events/parties in close quarters or crowds. I've been super happy with my decision to purchase the 24 f/1.4 though, it's worked out to be a great concert lens for smaller venues. edit: just re-read and realized you'd have an event pass just not a band pass. MMD3 fucked around with this message at 02:07 on Feb 27, 2010 |
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Feb 26, 2010 01:15
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Already Bored posted:Nathan from The Gossip haha, yeah, Nathan likes Sonic Youth  
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Mar 9, 2010 22:33
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Already Bored posted:That's great becuse MSO runs Coachella accreditation and are ridiculously tight. you do realize that every music publication across the globe sends photographers to Coachella? Have you seen what the pits look like there? Having been in them a few different years I can tell you that you're standing shoulder to shoulder with photographer's from Rolling Stone, Spin, Q, not to mention all of the local LA mags that have relationships with Goldenvoice. One does not simply waltz into Coachella... I don't even want to bother shooting Coachella any more. It's exciting to do it once and it's a good feeling to have the access but running from stage to stage across acres of fields carrying 10 pounds of camera equipment in 105 degree heat to meet a 5-10 minute window of time to shoot each band gets old really fast, especially y if you have friends at the festival that you actually want to hang out with or when you have to miss your favorite bands encores in order to be 500 yards away to shoot someone else. This year I'm shooting events at the Ace Hotel during Coachella weekend. I'm bummed I'm missing the festival but this will actually put money in my pocket and be WAY more chill. Here's what the pit looked like for Hot Chip a few years back, this was mid-day on a side stage. This is why MSO is ultra picky for a festival like Coachella. They really don't NEED your publicity so you better have a compelling reason.
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Apr 5, 2010 10:12
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Already Bored posted:Oh and the photographers from Rolling Stone, Spin et al aren't anything to write home about. my point with that was simply that they've already got all of the coverage they could possibly need and then some.
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Apr 5, 2010 15:52
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Already Bored posted:I figured that was probably what you were talking about. yeah, not sure what their reasoning for denying you would be then but I know Coachella has always a struggle to line up photo passes for and has been getting increasingly more so every year. That being said they're usually pretty lax about bringing in SLR's w/out photo credentials if you don't mind shooting from the crowd, you just might have to try a few different security guards at the entrance before one of them is okay with your 70-200.
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Apr 6, 2010 01:44
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jackpot posted:Security told me straight off that I could be in the pit for the first three songs only; I was kinda surprised at this, since they're not what I'd consider a big-enough band to warrant something like that, but ok (By the way, what's the logic on the three-song limit? It was the same rule for every band, even the local one. Is it just that you're a distraction, up front like that?). Lighting was great (lots of blue and yellow, thankfully not much red), security was friendly as hell, and the bartender offered me free coke refills. This place is very camera-unfriendly, so it was cool seeing every security guard's expression go from "rear end in a top hat with camera, must smash" to a friendly head-nod and wave once they saw my access pass. I shot til the end of the third song, then (like an rear end in a top hat) when I didn't get booted I decided to keep on shooting. Made it to the end of the fifth song before a guard tapped me and said "Sorry, I gotta get you out of here now." He was friendly about it, though; earlier in that last song Dave King gave me the finger, and me being over the limit might've been why. Then again he was probably just saying hi; he gives everyone the finger. The whole experience was a blast, I loved it. from GIS: http://bestuff.com/images/images_of_stuff/210x600/dave-king-47187.jpg
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May 5, 2010 21:53
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AtomicManiac posted:I think the 3 song rule is for a couple of reasons: Funny I actually had a 10 minute conversation with John Mayer about Jim Marshall and the 3 song rule just two weeks ago at Coachella. He sat down at a table at a hotel next to me (have some friends in common I guess) and asked me if the lens on my camera was the 24mm f/1.4... I was a little caught off-guard by his knowledge of photography, apparently he has a 5d mkII, a 7d, and a Leica M9. I hadn't read his blog post at that point and I was telling him about this NYT article from a few years back http://www.nytimes.com/2007/11/19/arts/19phot.html?_r=1 He started getting excited and telling me about how he had just wrote a blog post about the exact same thing. Pretty cool guy all in all, even if I'm not a fan of his lyrics. I took this photo of him checking out Andrew Andrew's iPad dj'ing setup with Ableton. 
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May 5, 2010 23:01
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Bojanglesworth posted:Yeah, gently caress here goes another rant. So these fucks brightest young things (BYT) in DC think they are the loving cats meow (yeah I said it,) they literally have a dozen plus "interns" working in some shithole "office" in DC, none of them making a penny, and every one of them busting their rear end. They all "work" for BYT because they want to be associated with what they do, which seems insane to me since its so absurd. The ring leader of the whole thing is this lady named Svetlana, who is actually a decently cool person but she is the only one making any money whatsoever off of the whole thing, and she has no less than fifty "Photographer," "writers" and interns working for her for free. while I certainly agree that you're in the right on that one and it's retarded to work for free... I clicked on that link and the first batch of photos I looked at were actually quite solid and didn't have any light trails. So their loss for being idiots from a business standpoint and it's unfortunate that they are bringing the value of photography down but don't throw the baby out with the bathwater right.
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Jun 29, 2010 20:48
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dreggory posted:Just imagine the world's most elaborate, convoluted circlejerk session. Got it? Now picture a website about it which, itself, is jerking off the circlejerkers. It's like staring into the abyss. hahaha, awesome description.
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Jun 29, 2010 20:50
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Portland, and I'm sure most other large cities, has been experiencing the exact same thing only sans the big douche-consortium site. Anybody shooting concerts or events like what brightestyoungthings are covering are likely being paid scratch. One of our larger weekly's that I used to shoot for right out of college pays $50/photo published. It used to be pretty nice side cash when they'd use the same one or two people for all of their concert reviews but then they started bringing on more and more kids to shoot for free for their blog and then they of course started shooting for editorial so now the photog's that shoot for their music section are lucky to get one photo published every other week. having to drop your plans for a night to go shoot some band you don't care for and risk having your equipment damaged isn't worth $50 to me anymore. It was fun when I was younger but I value my time more now I guess. The nice thing about doing that for a while though is that it opened up a bunch of doors to shoot paid events and get free access to the big music festival we have here each year. It was a good foot in the door and certainly helped me build a decent portfolio that continues to get me unsolicited paid jobs every now and then. I guess at some point you just have to realize that's the way things have gone and you either accept it and keep doing your own thing or you throw your hands in the air and let the hipsters that can subsist on $6/hour keep partying it up while taking mediocre light-trail photos.
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Jun 29, 2010 21:24
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definitely prefer rockcity's approach there. I would have made it even a little more affirmational. something like "Hi Bari, just wanted to confirm that I was good for..."
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Jul 9, 2010 21:45
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pr0digal posted:That's what I was told by another photographer friend of mine, don't know if it is true or not. I'm not the only one who hasn't heard back. Apparently if I am on the list I'll be getting press releases according to another photographer friend of mine who is waiting to hear back. honestly, I'd just show up with your gear and act like you were supposed to be confirmed. If they say they don't have a pass tell them who you talked to and politely make it clear that it's putting you out that they don't have it for you since you hauled all of your gear out to the show. at a bigger festival like that I'd think MSO would have representation handling all of the press, it wouldn't just be the venue's people. They should have more authority to make judgement calls on letting you in.
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Jul 12, 2010 19:33
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pr0digal posted:That's what I'll end up doing probably since I am on editorial assignment for my local newspaper and a music review website and I'll be damned if I am just going to give up on this. It's just getting annoying that I haven't been told "no" straight out, just ignored. that doesn't sound like it makes a lot of sense to me... without knowing a ton about the internal structure of PR firms I'm pretty certain they don't have a "confirmation department" it's just whoever's job it is to handle that event hasn't gotten around to emailing you back yet. Which is rude but most of the big firms know that they hold the power over the media outlets so they probably just don't give a drat unless you say you're with an immediately recognizable publication.
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Jul 12, 2010 20:12
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rockcity posted:You can use a flash if you want, but I've never needed one. It's never dark enough to really require it and the light isn't mixed enough to need fill flash typically. Definitely bring your 70-200. I used mine a lot last year. You can stand over to the side of the barricade area to get away from the crowd of photographers and get some cool side profile type stuff. 70-200 is invaluable at a festival, especially with the 3-song rule in effect it gives you a shot at pulling off some good pics of what's happening onstage even after you have to leave the press pit.
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Jul 12, 2010 20:36
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rockcity posted:I've really only done that a handful of times, and most of the time it's because I knew ahead of time a band does something in particular like the singer jumps off a speaker tower, guitarist dives into crowd, singer crowd walks during this song, etc. Speaking of, read around blogs and such about previous shows, you can find some awesome tips from concert goers about bands to watch out for. I wouldn't have shot The Gallows last year if it wasn't for some things I read. well, the flip of what I was saying is true as well. The 70-200 is helpful if you aren't able to make it to a particular stage in the first 3 songs and want to make sure you catch at least a few photos w/out access to the photo pit. rockcity posted:Ha, be glad you didn't have to shoot it with much smaller cards back in the day. I used to lug around my beast of a Dell laptop with me so I could ingest memory cards on the fly. This is how everyone used to do it. so painfully true... first time I shot Coachella was with 1 and 2GB cards... I was offloading stuff to my Creative Zen Vision mp3 player because it had a CF port in it and was 32GB. really really painfully slow but it was a much better decision than carrying the laptop in 100+ degree weather. MMD3 fucked around with this message at 21:16 on Jul 12, 2010 |
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Jul 12, 2010 21:14
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if you really wanted to kickstart this thing it'd be great if the site had photographer's profiles as well as a back-log of indexed band photos. So if in the first month or two of the site being live someone comes to the site it doesn't look like there are only 4 posts. If you had a way for everyone to upload galleries of their favorite photos from X bands they'd shot it would lend some credibility from the get-go.
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Jul 30, 2010 20:14
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just got word that I'm confirmed with a photo pass for Chromeo on Friday, they always put on an incredibly fun show, this is the first time they've played a venue in Portland with decent lighting though so I'm looking forward to seeing what I can get.nerdz posted:Oh well. I've yet to try shooting concerts with my manual 50/1.2, so I will do that and post some pics later. I wonder what a Noct-Nikkor 58/1.2 would be able to do at concerts. it better be a pretty low-key show, otherwise have fun trying to catch the focus of a performer moving around onstage with a 2" depth of focus.
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Aug 10, 2010 20:34
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I, Butthole posted:Jesus. I shot a 3 day festival shooting bands as well as social photos (yay for drunk people) and I only went through one 16GB and one 8GB card on a 5D shooting full res raw. Be less liberal, I guess? seriously, I was thinking this exact thing... try editing in-camera between shooting. 48GB gives new meaning to "pray and spray"
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Aug 11, 2010 00:25
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