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I still have a bit to learn as far as concert photography goes, but I think I'm probably one of the better photographers in my scene (FL metal). My problem is, I've got no loving clue what to do for promo shots. I've been asked a few times but I've turned it down work because I don't feel comfortable. To me they're two totally different types of photography. What can I do to get up to speed on doing promo shots? What kind of equipment am I gonna need? I'd really like to at least have some canned ideas ready to offer incase I get asked again. Edit: Also, what about choosing a location? I'm pretty clueless on how that is done. Haggins fucked around with this message at 02:56 on Mar 7, 2009 |
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Mar 6, 2009 22:07
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rockcity posted:Where in the FL area are you? I just moved to Orlando this past summer and metal is mostly what I shoot too. I've only shot in Tampa, St. Pete, Orlando and Jacksonville so far. Sorry, took a break from CC for a couple weeks. I live in Orlando and shoot pretty much every underground death/black/thrash show that lets me in with a camera. Right now I'm doing it out of my love for the music and photography though I'm starting to do some promo work with some of the smaller local bands. I'd like to expand out and shoot larger shows, I just haven't figured out what angles I need to work to get press passes.
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Apr 12, 2009 18:09
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pr0digal posted:The show's I shoot are mainly smaller (local) shows. I've done promo shots once and it was sort of a last minute thing. Some examples are below (not recent, I haven't uploaded those ones yet). I might be shooting a show tomorrow in a Newbury Comics What method are you using to get 2nd curtain on your Xti? It's something I'd like to do too but I'm screwed until I get a TTL flash or some special pocketwizard.
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Apr 23, 2009 22:54
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pr0digal posted:You should be able to do it with the onboard flash, its under one of the custom function menus...I forget the exact one. Cool, I'll have to try it next show. I think what I'm doing now is getting stale and I need to try new things.
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Apr 28, 2009 23:55
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Alctel posted:This looks fun, but I don't own a flash (I don't use it enough to justify an external and the XTI onboard sucks) but my Sigma 30mm 1.4 should be pretty good right? Anyone used it in this kind of setting? My other 2 lenses are Canon 100mm and 50mm 1.8 which people in this thread have been using so at least I can fall back on those. The 30 and 50 are about the best two lenses for a inside show you can get.
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May 9, 2009 15:18
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If you get the Ovation channel you guys might want to check out Jazz Seen, a documentary about jazz photographer William Claxton. It's pretty good and it relates to what we are all doing. quote:A feature-length journey through decades of American entertainment history as seen through the eyes of talented jazz photographer William Claxton. The film focuses on the man who has given us images of film stars, jazz musicians, top models - icons of the American dream. Claxton started his career in the early fifties with a photograph of a young Chet Baker. He captured the moments when a young unknown actor became known as the famous Steve McQueen. Jazz Seen features interviews with Chico Hamilton, Burt Bacharach, Dennis Hopper, Helmut Newton, Vidal Sassoon, and many others. Claxton himself shares insights of his life, his work and the fascinating world in which he lives. http://www.ovationtv.com/programs/515 The channel seems to regularly show photography documentaries, so keep your eye on it if that's your thing. Right now they're also playing The True Meaning of Pictures. I've got my dvr set to record. Haggins fucked around with this message at 18:06 on Jun 2, 2009 |
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Jun 2, 2009 17:55
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I just saw this guy on flickr http://www.flickr.com/photos/orgasmatron Someone of his stuff is a little too contrasty for my tastes but overall I like it a lot. Do you guys get any use out of 70-200 2.8? I eventually want to get one but there is other gear I want/need right now too. All have I have right now is: Rebel Xti 17-50 2.8 50 1.8 Vivtar 285HV I want to step up my concert game and I was thinking about either getting the 70-200 or a 580EX II and few other misc things I need.
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Sep 8, 2009 00:24
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I'd hate to waste money on a 4 and want to sell it for a 2.8 down the road. I believe in the buy once philosophy. Secondly, I plan to get a 7d by next Feb, so I'm sure I can stick it out until then.
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Sep 11, 2009 02:43
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Aperture!
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Sep 14, 2009 02:58
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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: Hello Ryan, Can you let me know who the photos will be for? How should I answer this? I don't work for anyone.
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Sep 15, 2009 00:56
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MMD3 posted:"I'm currently shooting freelance and was intending to give the photos to a local music blog" Cool, I did just that. Thanks. I actually know a guy that runs such a blog in the area so it works out perfectly.
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Sep 15, 2009 01:53
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rockcity posted:Just save yourself the headache of watching that horrible band and don't shoot them. Sorry, but they are awful live and the bass player is a douche. I guess you had some kind of bad experience with them. The bass player, Alex, was very polite to me and urged me to contact a certain person on their record label to shoot them. As far as the live performance, I guess we just have different tastes.
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Sep 15, 2009 04:26
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MMD3 posted:"I'm currently shooting freelance and was intending to give the photos to a local music blog" This ended up working perfectly, I'm in to shoot Cannibal Corpse. Now I could use some more help. There is this big metal fest every year in Baltimore called Maryland Death Fest. I sent the PR person a vague email asking about getting a photo pass for next year. I got this reply: quote:Hi Ryan, I understand them being picky about who they give passes to, it's one of the biggest and most important fests in underground metal. That and tickets are $120 for 3 days. I don't care about not paying, I just want to shoot it next year. So how I can work this?
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Sep 28, 2009 00:25
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MMD3 posted:pretty straight forward... Cool, I'll start working angles right away.
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Sep 28, 2009 01:32
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Well them being the AP I'd guess they'd know if you were lying or not.
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Sep 29, 2009 02:25
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HPL posted:Not really. The photographer they sent to cover the accident probably got stuck in traffic on the way to the accident. Maybe the first photographer went to go cover the first accident then became the cause of the second accident.
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Sep 29, 2009 02:31
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No. 9 posted:He might be talking about Alternative Press I was wondering why the Associated Press would want Blink 182 photos and how rockcity landed a gig with them.
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Sep 29, 2009 02:38
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rockcity posted:Here's a few shots from the show I shot on Tuesday. (own hosting) Ahh so that was you in the photo pit. Did you get any Toxic Holocaust photos?
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Oct 3, 2009 04:46
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/content/bin/images/large/tgc.bleedingthrough23.9_29_09.jpg)
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/content/bin/images/large/tgc.satyricon05.9_29_09.jpg)
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Check out this chick: I hope one day I can make 10 cents per photo.
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Dec 5, 2009 02:45
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I'd think about how they'll work with the stage lights and also think about using gels.
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Dec 15, 2009 03:33
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I don't think I will ever do concert photography professionally (well not as a main gig). I'm a metal head first and a photographer second. Up to this point I've only shot bands that I've cared about or played at the show I was attending. I'm really just out there to capture the experience. That's not to say I'm out there doing free work for every band, I show them the photos and keep the rights. I wouldn't turn down money if a band offered it for my photos. However, I'm happy just to be there shooting, money or not. If I were to try to make money I'd rather make it on promo shots, which I hope to do in the near future. I think it might work well because the thing about underground metal (I'm sure you can call it/apply it to indie music too if you want) is that it's all made from contacts in small close nit communities. If you want to get a band together you seek out someone who is already a part of that community. Need to get your demo mixed? Go to the guy in X local band that mixed SoandSo's demo before they got signed to Relapse. Need a drawing of a goat raping a nun for the album cover? Talk to the guy who did artwork for 5 other bands that inspired your music. I can't speak for all indie music, but if metal heads are given the choice, they'll go for someone who is already part of their community. I'd like to be one of those guys for photography. But anyway, those are just my thoughts on the whole thing.
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Jan 6, 2010 02:29
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rockcity posted:On a side note, I'm working on setting up a promo shoot with a small local death metal band composed of a bunch of young kids. Normally I'd never do that, but the singer is Kevin Nash's son, haha. What band?
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Mar 31, 2010 03:15
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Zeliums posted:So I just skimmed throw a whole bunch of pages to pick up things here and there, and I still have some questions that have probably been asked 10000x times. I'm planning on shooting a uni sponsored concert and it will be my first time doing so. Getting a fast prime like the 35 1.8 is definitely a good idea and will come in handy for every show you shoot. As for the flash, it may not always be appropriate to use it at every show as it can really bother the musicians. The rule of thumb is the heavier the music, the less flash distracts the musicians. Either way, I try not to use it during a performance and if I do, only for a couple shots. As for the after party, the flash will be very useful. No one parties in well lit areas and no one is going to be bothered that you're using it. The i-ttl on it will also help for all the running and gunning you're going to be doing. As for the softbox, are you thinking of something small that goes on the top of your speedlight? I think you'd be better off trying to bounce your flash off a wall or ceiling. The way to get soft light is to increase the size of your light source. If you put something small on the flash, you're really not going to do much unless you're really close to your subject. If you say, bounce your flash off a white ceiling, you just made your light source as big as that ceiling which softens it up a lot. Getting something like this would be a good idea for filling in the shadows created from the direct overhead light source.
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Apr 4, 2010 01:38
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Zeliums posted:Ah I see. I actually was looking at the 80-20. I was also looking at the LumiQuest softbox to see if it would serve me of any use in this situation. If I had to choose between the two at the moment, I would assume the 35mm 1.8 would be of more use to me? I'm on a budget until I can land some extra cash. If I could only use the built-in flash what are my options in terms of filters or should I just not even bother with it? Yeah I'd get the 35 for sure if you plan on doing more concerts. Another, better option is the sigma 30 1.4 for about $430. That's about the best thing you can get with out spending a crazy amount of money. Might be a good idea to save the cash for it. If you wanna go cheap on the flash, a 285HV is only $90. It's a good flash but it's completely manual. As opposed to the lens, this flash would still be useful even if you bought something better down the road (can't have too many flashes).
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Apr 4, 2010 02:51
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Every time anyone I know goes into a band's van, it has something to do with drugs. I don't know if that's helpful or not.
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Sep 1, 2010 03:07
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