Excerpted from Chapter 4 of Concert Photography.
"Don't be too intellectual about photography. Most great shots are the result of gut reactions."
--Ansel Adams
It may seem obvious, but the single most important factor for getting a good shot is being in position to frame it in your viewfinder. If it's not in the viewfinder, it won't be on the film and no amount of wishing will change that. You have to be there, and sometimes positioning is a matter of inches between an OK photo and an outstanding one. Much of your energies and emotions will be devoted to getting yourself into position and making the best of the time you're allowed to stay there. Good photographers are seldom pleasantly surprised by what they find on their proof sheets. They know if they have a good shot the instant the shutter release is squeezed. The anxiety comes in waiting for the film to be processed to see if it was properly executed from a technical standpoint.
Musicians mirror their emotions in their faces and body language when they play and interact with each other and the audience. They can't help it. A common theme expressed by players is that they are most alive when onstage. Try to capture that range of emotions on film. I've found most musicians like to see photos of themselves smiling onstage, because it's usually a real smile based on feelings and not one induced for the camera. The big exceptions are hard rock and alternative thrash/punk musicians, who hate smiling pictures. They want to show attitude and anger in their performance, and often spend a great deal of time and energy honing their stage poses. Essentially, you're looking for that split second when lighting, composition, and gesture come together in a synergistic moment to create a photo that equals more than the sum of its parts-in the immortal words of Henri Cartier-Bresson, the "decisive moment." Be patient. Wait for it to happen in your viewfinder. At the same time, cover yourself. Often, it won't happen and you have to settle for a competent shot. You must not only recognize that moment, but have your technical chops together to record it. To a certain extent, luck plays a part. But the more in command you are of your skills, the luckier you get.
Compose your shot carefully and fill the frame with the image. Examine the frame from corner to corner to see precisely what you are capturing on film. One of the most common mistakes of inexperienced photographers is leaving too much room around the subject, which reduces the size of the image on the negative. You can eliminate the waste space when you print, but you'll pay for it in the form of a degraded image because of the reduced amount of negative used. On the other hand, don't pass up a good shot if you can't fill the frame because you're not close enough or you're not in the best position. Grab what you can and be thankful that you at least have the option of cropping in the darkroom if you're shooting black & white or color-negative film. Keep working for the perfect shot, but don't be left holding an empty bag because it never quite materialized the way you envisioned.
It's sad but true that
security people and other working personnel generally regard
photographers with roughly the same respect as chewing gum on their
shoe. To a certain extent, this status has been brought on by the
conduct of some photographers with little consideration for the
rights of others. A laminate or photo pass is not a license to impose
yourself on the paying audience or the performer, no matter how
important you think your assignment is. A few rules of common
courtesy will go a long way to correct this impression and, in the
end, make your job much easier. It's pretty simple, really: If you
want to be treated as a professional, you must act like one.
Performers and the audience want photographers to be invisible, and rightly so. They didn't come to see you jumping around in front of the stage or otherwise becoming part of the show. Take a cue from video crews and wear black or dark clothing to blend into the background. Stay down. If you must shoot above the lip of the stage, pop up for your shot and then drop back down immediately, particularly if you are working a very low stage. When you're working a club or theater and must move around, do so with purpose. Know where you're heading and plan your route carefully before you get up to move. If you're directly in the visual path between the performer and the audience, wait until the song ends so you don't block views or create a distraction.
If you are going to block someone's view, let him know that it will only be temporary so he doesn't think his whole show is ruined. If you're on assignment for a publication or working for the band, it may help to mention that. In acoustic or otherwise quiet situations, camera noise can be very obtrusive. Turn off your motor winder. Learn to recognize when even the clatter of a shutter and mirror is too much and act accordingly. If you're shooting from the audience in close quarters, don't put your camera right in the ear of the person in front of you without fair warning. Most people will understand and cooperate if you are friendly and display a professional demeanor. If you're an insensitive clod, you make it hard on other photographers who are willing to play by the rules. And, if a customer complains to the management, it'll probably be the last time you'll be allowed to bring your camera into that club. Always be sensitive to your environment. Don't stay in one place for long-keep moving.
Still, as Ebet Roberts reminds, you've got a job to do. "I try to be considerate and stay out of people's way, but it's not always appreciated. You still have to get the shot if you're being paid to deliver. Sometimes you have to be aggressive, but that doesn't mean you have to knock somebody down."
Respect the security people; they're paid to enforce house rules. But remember that they may have some latitude in how rigidly they enforce those rules. Talk with them before the show and let them know what you are trying to do. Person-to-person relationships are vital. Treat everyone with respect and be friendly. Tell them you understand they have a job to do, and convince them that you do, too. If they give you an inch, don't take a mile; you'll regret it the next time you need to work the venue. Your relationships with security people can significantly effect your working conditions.
Don't forget that you're armed with a serious weapon when you're carrying a camera around with a long telephoto lens. Hold the camera and lens straight up and down when you're moving through a crowd, to avoid poking or bashing someone. A 25-pound bulging camera bag has equal potential to do physical damage. I tend to grab the strap and force the bag in front of me, where it is less likely to whack someone.
When you're working in small clubs or similarly intimate situations, you may discover that it's possible to get within a few feet of the performer. Unless you've been given permission beforehand, try to resist the impulse to lodge yourself into this position where you are bound to be an annoyance to both the artist and the audience. Back off a bit and let your lenses do the work.
Don't leave empty film boxes and containers. Stuff them in your bag and take them with you, or dump them in a trash can when you get the chance.
If you're working in a photo pit, don't hog the best spot for the entire show. Share the space and your courtesy will be reciprocated. Granted, there will be instances when time is so severely limited that this approach will not be profitable. Sometimes it has to be every man for himself, or you might walk away empty-handed. Still, there's no need to treat the person next to you as your enemy. Let your initiative, skill, and resolve be your guide.
If you've promised someone-an artist, a promoter, a security person, whomever-that you will send copies of a print or a proof sheet, then do it. Take it from someone who has made this mistake. People don't like to feel as if they've been taken, even if there's no money involved. They'll remember your slight and resent you for breaking your promise. Remember to always mark the pictures with your name, copyright notice, address, and phone number. If they're good enough, there's always a chance someone will want to use one or two for commercial purposes. A few free pictures distributed to the right people can reap a tremendous amount of good will and open a lot of doors.
© 1998 humble press. Material may not be used in part or in whole, unless permission is granted by humble press.