Live music photography is often as challenging as it is rewarding, and those starting out can easily feel disheartened. Having to contend with constant movement and lights changing all the time, and only having a short amount of time to get the shot right, might not sound like some people’s idea of fun, but other photographers thrive in this kind of environment.
So, what do you need to know if you want to give it a shot?
You have to be quick
If you’ve been given the opportunity to photograph a gig professionally, you'll often only have around three songs in which to capture your images, usually the first three. Speed is essential, so before you start shooting, you should make sure your camera doesn't have any unnecessary settings activated that may slow you down.
So, if you know you’ll be processing Raw images, you don’t necessarily need to shoot JPEGs with noise reduction, dynamic range adjustment, vignetting correction and similar options left on.
You may not have long so set your camera to be as responsive as possible
For the same reason, make sure your card is fast enough to keep up with the images you’ll be taking. The last thing you need is for an opportunity to present itself while your camera is still digesting your last few shots.
There’s a good chance you won't be able to use flash
While shooting policy can vary between bands and venues, you will generally be asked not to use flash as this can distract the performers.
You will often not be able to use flash
To be able to get sharp shots, you’ll need to rely on higher ISO settings and a shutter speed that’s fast enough to freeze the action. Image stabilisation won't help you out here. For these reasons…
Use the fastest lens you can
It’s difficult to appreciate in advance what kind of settings you'll be able to get away with using, but be prepared to use one of the highest ISO settings you're comfortable with and the widest aperture possible.
A 24-70mm f/2. 8 lens is a good general-purpose option to use for gig photography, and some photographers may have another body on them with a longer lens mounted, such as 70-200mm f/2. 8. The latter type is particularly useful for picking out more distant drummers, but neither of these are cheap.
A 24-70mm f/2. 8 lens allows you to alternate between wide and tighter crops with ease
If you’re on a budget and you want the convenience of a constant-aperture zoom, you might want to look towards older, secondhand versions of your camera manufacturer’s 24-70mm f/2. 8 or 70-200mm f/2. 8 lenses. Alternatively, third-party options from the likes of Tamron and Sigma can be quite a bit cheaper too, even brand new.
If you’re on an even tighter budget, a simple and inexpensive wide-aperture prime lens, such as a 50mm f/1. 8 or 85mm f/1. 8 would be a good option. Although you lose the convenience of a zoom lens, your maximum aperture should allow for the shutter speeds you need. A 50mm f/1. 8 may be too wide for your needs, but as long as your subject is sharp you can always crop in a little later. Personally, I would take this kind of lens over a standard zoom with a variable aperture.
Know your AF system
AF systems vary with cameras, but if you’re using a DSLR it’s worth getting to know your AF system, or more specifically which points are the most sensitive.
Your central AF point will typically be the most sensitive, but surrounding points may work well enough in low light too. Peripheral points, particularly those at the extreme left and right sides, are usually the least sensitive, and on some cameras these may not be cross-type like many of the others. While you many want to use these, be aware that they may fail to lock onto the subject in low light.
Peripheral AF points might struggle to bring a subject towards the edges of the frame into focus fast enough
It's far better to use a more sensitive point for speed, and consider the focus-and-recompose technique, although be aware that at wider apertures and shorter focusing distances this technique works with less success.
It may also be possible to configure your AF system so that only the more major, sensitive points are addressable. You may also be able to shift to a pre-determined AF point using a custom control, which you may find useful if you tend to use a specific point frequently.
Of course, all of this assumes you are using standard rather than continuous focus. I use both as the one I need varies with the conditions at the time, but if you only have limited time you may find standard focusing more reliable.
Pay attention when the music stops
If you’re finding it difficult to reach the kinds of shutter speeds you need while the band is performing, you may find greater success in between songs, perhaps when the band is conversing with the audience.
The lighting may be more stable and the band is less likely to be moving around as much, so you may be able to get away with slightly slower shutter speeds. Not only that, but if you set yourself up in position before the song begins, you may still be able to use slower shutter speeds towards the start before the song develops.
The beginning and ends of a song can be some of the best times to capture an image
. digitalrev.com2017-5-8 03:00
