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Equipment:

Every photographer builds an arsenal of equipment threw time. The key is to find out what works and get rid of the pieces that hinder your success.

The biggest mistake newbie's make is to drag every piece of equipment they own to an event. Lugging and fumbling with equipment in the field will cost you lost shots and make you look unprofessional. Be practical.

Study what the competition is using. You'll meet guys that are novices and pro's alike. Remember a peice of bad advice is just as bad as bum equipment. Ask what they like or don't like. As you build relationships with the fellow photog's they'll confide in you. Take advantage of this oppurtunity for a free education. You'll learn things not covered in college text books.

The Golden Press Pass:

One of the biggest obstacles in this profession is obtaining clearance to an event. Generally speaking it gets easier with every event. Do your home work. A web search for the performer will yield vital contact information you'll need to contact a performers management team.

Make your initial contact about a month ahead of the event. Have all of your documentation ready. Background checks are becoming the norm with the way the world is today. Keep a diary of who you spoke with and when.

Don't try and B.S. your way into a concert. Your dealing with seasoned pros who take great joy in feasting on this type of person. Be confident but don't approach them with an inflated ego. Once again the key is a humble confidence.

Look and act like you belong in the inner circle. Developing a relationship with the state trooper working the stage will trump whatever credentials you've been granted. Even the roadies answer to these guys.

Event security:

This guy is your best friend, keep him happy. Arrive to the event early. This will give you time to scope out lighting during sound and lighting check. It will also afford you the opportunity to stake your claim to the optimum position before the rest of the pack of shooters arrive.

More likely then not there will be a state trooper guarding the stage area. Introduce yourself and develop a relationship with him. Your goal is to convince him that you respect his position of authority and the job he has to do. Ask what restrictions their may be. Express a genuine interest in his career. If its exceptionally warm offer to buy him a coke and ask if he'll keep an eye on your equipment while your gone. Try to build a sense of mutual trust and respect.

It'll establish a sense of credibility in the eyes of roady's who feed off the media. I've had a personal escort past event security to backstage area's reserved for special passes.

Stage lighting:

Learning to deal with the varied lighting your presented with is probably the single biggest challenge you'll face. No two events will have the same quality of light. The object is to build upon the cards your dealt not to blow out the stage lights.

The best flash exposure is the least noticeable. A center weighted spot meter is the key. Place the spot meter on the performers face and take your reading. TTL or "threw the lense" metering is best. This system shuts down the exposure when just the right amount of light has passed threw the lense. This is especially crucial when your working with backlighting which can through your exposures all over the place.

Don't make the mistake of leaving your flash at home if it's an outdoor concert. A flash set to "fill in" the dark portion of a peformers face is mandatory. Once again use just enough power to fill in shadows not elimante them.

What would have been a great shot of George Jones falls short because of the overpowering flash. Note the harsh shadow to the left of his head. I was still able to market this photo because of his warm smile.

Photo's by Raymond L. Tharaldson
all rights reserved
2000

Exposure:

Spot metering is crucial for quality shots. All the photoshop techniques in the world can't redeem a blown out or under exposed shot.

In this photo the camera's sensor was placed over the performers face and a reading was locked down, then I re-framed the shot. Had I let the camera pick the exposure, it would have tried to over compensate, thinking it needed more light.
Photo by Raymond L. Tharaldson
all rights reserved
2009

Composition:


All the rules of composition you've learned in school apply to concert photography as well. The rule of thirds, leading lines, "S" curves and repitition used in your composition will make your photo's stand out and above the rest of the crowd.


The single most important rule is to leave plenty of room in front of your performer. When the art director lays out a page he'll need this added room to place type.


 Photo's by Raymond L. Tharaldson
all rights reserved
2001

Capturing expression


Drama and expression in an image takes it to the pro level. Unfortunately some of the legends are very low key, making it extremely hard to obtain anything but a mug shot. Patience is a virtue.

Every performer expresses the same mannerism's. Timing is crucial! Usually in between phrazes of a song they'll pull away from the mike to hit higher notes or glance over to another band member. That's your que to shoot!







The shot of a singer eating a mike is non-sellable. Also look for catch lights in the eyes, this is frosting on the cake. Technically you can can add these in Photoshop after the fact however its always best to achieve this in camera.

Remember performers feed off the crowd, try to capture any interaction that may play out.

Photo's by Raymond. L. Tharaldson
all rights reserved 2000

Good public relations:


If your going to be a success in the entertainnment industry, remember image is everything. You have to look and act professional on every level. Your first impression will usually be your initial contact letter requesting credentials. Make a not just a good impression, make a great impression.

 Spend the time to polish your business cards and stationary. I've met plenty of pro's who work out of a garage but look like a million bucks. Practice and develope pleasant, articulate speaking habits.

 Don't make promises you can't or don't intend o keep. You may be able to smoose your way into the first event but it will undoutablably be your last. Press relation personal keep contact lists and share them with others in the industry. Do everything you can to get on the good list. Being black balled in such a small industry is almost impossible to overcome!

Image management:

You've got the image an art director wants but you can't lay your hands on the original source. Everything is wanted yesterday in the publishing world. A missed deadline will cost you everytime! Develope a filing system from the very first frame you shoot and stick to it. Like housekeeping a constant maintanace is less taxing then trying to deal with it all at once. If your shooting digital, backup, backup, backup. Memory cards and hard drives do not last forever. They malfunction or get misplaced on a regular basis. Time dating along with a ledger or log works best for me. Keep your system simple so that an assistant or spouse can dig up an image in the event that your on the road when oppurtunity knocks.

Selling your work:

Now for the gravy! Your images have the potential to earn income not only during your lifetime but that of your descendants. Protect them physically and legally. Store film in recommended conditions and limit their exposure to light. Back up digital images in various formats and places. Educate yourself and enforce the copywrite laws. Use forms that are simple to use but contain enough legalese to protect your rights. Generally speaking the more wide spread an image is used the more you shoulod charge for its use. Rights can be limited to regions, countries, or how many times it can be used. Spell it out clearly so that misunderstandings are avoided. If legal action is neccessary, be professional. Don't make threats, let your lawyer be the bad guy.

Choosing Equipment :

Every photographer builds an arsonel of equipment threw time. The key is to find out what works and get rid of the pieces that hinder your success. The biggest mistake newbie's make is to drag every peice of equipment they own to an event. Lugging and fumbling with equipment in the field will cost you lost shots and make you look unprofessional. Be practical. Study what the competition is using. You'll meet guys that are novices and pro's alike. Remember a piece of bad advice is just as bad as bum equipment. Ask what they like or don't like. As you build relationships with the fellow photog's they'll confide in you. Take advantage of this opportunity for a free education. You'll learn things not covered in college text books.

Introduction: The Art of Concert Photography



Introduction: 
I shot my first concert while working for the Hornet Newspaper of Fullerton College, Ca and while the results were less then pleasing, they made the front page and I was hooked. Except for an occasional poorly written artical in a photography magazine, I found there was a lack of educational materials available. So by trial, error and countless tips from fellow photog's, I developed my skills. After 28 years as a photojournalist, I feel I've aquired a winning stratedgy for creating compelling images and would like to share them with you in "The Art of Concert Photography".

The Art of Concert Photography

This site is dedicated to sharing what I've learned over the past thirty years as an award winning photojournalist. My blog will feature professional tips, examples of my work and helpful resources. I hope to both educate and inspire photographer's to take their craft to a higher level.  Your participation and feed back will be crucial to this blogs success.

Choosing your position


Ray Charles Notre Dame, IN 1994
Photo by Raymond L. Tharaldson
all rights reserved

























I almost always position myself at a 45 degree angle to the performer for several reason's. First of all, it's most flattering for the artist. Your creating a portrait so use the principles you would for shooting portraiture. Secondly it places the microphone to the side of the face. Shots of an artist eating a mic rarely get published. Another advantage is that an artist typically pulls away from the mic at the end of a phrase. This is the moment when their most likely to throw an expression to band members. Expression's are your money shot's!

Obtaining & using credentials

Now that you've developed your photo skills to a proficient level, it's time to start defining your professionalism. It's hard to convince other professionals to take you serious without looking and acting like a professional your self. The more polished you look, the easier it is for others to open doors for you to walk threw. In large cities, photojournalist's often must compete for the limited amount of credentials that are granted. Press relations people want to get the most bang for their buck and assign credentials to the photographers that can deliver the most coverage. When your first starting out, don't assume you'll get access to the biggest events. More often than not you'll start off working smaller venues. Working with local bands will not only put some coin in your pocket, it'll afford you the opportunity develope people skills.   The right attitude will be the key to you're success. Be confident but not cocky. Be polite and respectful. Be honest,  don't embellish.  And don't be a name dropper. And if your asked to provide tear sheets or photo's honor their request. It's a small price to get a reputable name circulating. Even in large cities press relations people know each other and once your blacklisted you might as well relocate. Remember press agents and event managers are professionals trained to weed out the wanabee's. After successfully navigating threw the process several times you'll become more relaxed and confident. Adhere to these rules and you'll be amazed  how a good reputation will preceed you. Paying you're dues now will lead to the big events later. My best advice at this point is to put forth your best possible effort even when working the smallest of venues. You never know who knows who so treat everyone with equal respect. I once struck up a conversation with a guy cleaning a horse stall at a county fair who turned out to be the person that invented fiber optics and was worth millions! Raising and showing Clydesdales was his hobby.

How it works:
First pick the event you want to cover. Remember start out with something relatively easy to get your foot in the door then move up to really big events. Travel to and lodging at these events can get expensive so budget for it.

1. Find out the procedure and deadlines required for getting credentials. This will probably mean calling the venue or in some instances making a request by application on their websites. Start early, usually a month ahead of time. During the 1984 Olympics my college applied and was granted credentials two years in advance. Several world renown newspapers waited until the last moment and was left scrambling.

2. Start the request process. Generally you will have to get your editor to request credentials on company letterhead and you may have to fill out a form or meet insurance requirements. If you are a freelancer, then you will need to make up a letterhead and business cards. Study the promotional materials of pros and make yours look just as impressive!

3. If liability insurance is required (i.e. the Kentucky Derby requires you to have $1 million in liability insurance to cover the races from the track), you will probably have to purchase this on your own. If you are associated with a company, they may already have it so check there first.

4. Follow up with the venue until you get the OK. Some big events will be reluctant to credential a website so you may have to do some convincing. This is one reason why you should start small, you need a portfolio of live coverage to show them you are legitimate media.

5. Don't be surprised if you have to submit paperwork more than once. Losing your paperwork is one way to discourage too many people from coming. Be persistent.

6. Once you get the credential, read the instructions carefully for any policy info or rules of behavior. Some places will have a dress code and will specify exactly where you can go. If you have any questions, be sure to ask their media relations person when you arrive but don't call them in advance.

7. At the event, always wear your badge. Security will be looking for it and it will likely be coded in some manner to say what kind of access you have.

8. There will be a press box or center that you may or may not get access too. Do not arrive at an event hungry. In large cites food may be provided, however don't take it for granted.  It may help you get credentials if you specify you don't require a space in the press box as it can be quite crowded for big events.

9. If you are taking photos, follow the rules they gave you carefully. Don't get in front of TV cameras or the other photographers and block their shots. This is their bread and butter so be curteous, especially if this is just a sideline for you. At large events photog's will be expected to rotate in and out of the key shooting spots. When I shot LA Kings hockey games photographers would take turns shooting threw a small cut out in the plexiglass. Be aware that each photog has to get his money shot and work with each other.

10. Have a decent camera to take, digital preferably, that has settings to take nice action shots. For heaven's sake don't show up with a disposable camera. Use the best quality equipment you can buy and only bring the hardware you need. You're equipment is a qualifier. Be sure to practice focusing in the back yard, the quicker you can snap into focus the more likely you'll be able to grab those money shots! Using auto focus on a digital camera can be tricky with quick action shots. I always turn it off. Usually the camera will try and choose the wrong thing to focus on. Battling a camera means loosing great shots!

11. You may get free box lunches or hot food, media guides, or even shirts, hats or other merchandise. Don't be greedy about this if you are a newbie but accept gratefully if it is offered. Eventually you will get on the 'A' list for the freebies but never act like you expect them. Do be sure to request a media guide if you aren't given one automatically as they are VERY useful. You'll need this info when filing and captioning your photo's.

12. Be sure to introduce yourself to as many people as possible, especially the media relations people for the event. You want them to remember your name and site for next year and to have a good impression of you. Give out lots of your business cards and network with other press people. Use this opportunity to tap into the wisdom of the pro's that are present. However do it only when it doesn't interfere with their work. You'll learn far more in the field then in the class room!

13. Usually there will be a press conference with the winning person/team. Go to these to get quotes and/or photos for your article. Even if you don't ask something yourself, you can write down comments to the other reporters' questions. If you do ask questions make them brief and know what your talking about.

14. Post your story in a timely fashion, preferably the night of the event. It helps to have the basics of the story ready before hand and then just plug in the details, commentary, and photos afterward.

Tips:
A. Don't be nervous. Websites are legitimate media even if some events don't recognize that yet.
Act like you should be there and not like a fan.

B. Practice taking action pictures as you won't get a second chance for most shots at the event.

C. Keep your eyes open as you never know when something worthy of a photo will present itself.   Don't miss that once in a lifetime shot by being inattentive.

D. If you afforded the opportunity to go back stage, treat the performer simply like a person
with a really cool job. Most if not all hate being made uncomfortable by people acting
like groopy's.

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