To say I work "in the pit" does not sound glamorous at all. An image of a deep hole in the ground comes to mind. But to say I work in a photographers pit, adds a bit of nobility, and perhaps a touch of respect. For me, it's a fast paced 10-15 minutes workout of capturing great images, and that one image, unique, and so different from the rest that makes the whole night worthwhile. Factor in high stress levels to achieve the correct camera settings within seconds, putting yourself in the right spot to get the shot, and trying to stay out of the way of a dozen (or more) other professional photographers. It's one big adrenaline rush, is what it is, and I love it.
Oddly, my first shoot as a music photographer started in the pit. For most people, it doesn't work that way. I got lucky, and learned so much from the experience. In 2009, I didn't own a professional dslr, I borrowed one. I shot in AP, and blessed with a late afternoon concert, because I knew nothing about low light photography at that point in the game. Two years after that pit moment, I purchased my first dslr camera ready and motivated to do this right.
For anyone who ever dreamed of being a music photographer, I am happy to share the road I traveled, To be successful in this genre of photography you must have: 1) a deep and passionate love for music, of any genre. 2) a dslr camera, and 3) a good working knowledge of portraiture photography definitely helps.
So how do we start? We practice and we learn. The first thing you're going to need is your very own band. You will want a band who's music you like, because you're going to be hearing their songs over and over again. You will need the band to be gigging as often as your schedule will allow.
Eddie, lead guitarist and co-founder of Kharma Train. First shoot with this band at The Red Stallion, 2012. Testing the waters with individual shots.
Late in 2012, I started with a local cover band, Kharma Train. I joined them for a year and half tour from their second show. I wanted to support local music, make my contribution and give back high quality images they can use for their branding, advertising, business cards, calendars, etc. The majority of cover bands can't afford to have this work done professionally, and is vital in their survival. As a photographer, the benefit is that it gets your work out there, whether it be a newspaper ad, or photos used on social media.
Whether you're searching a city to find the right band, or know someone in a band, the first thing that must be done is to ask permission. Your needs must be genuine, to learn to take great shots, period. If you approach a local band asking to be put on their payroll as their photographer, you will surely be dismissed. Accept the fact that this is a non paying job. On the other hand, over time, you may find that the band members reward you in other ways, such as their friendships, gifts, not having to pay a cover, and drinks. Your work will also gain exposure, and that may lead to paying jobs. Also, you want to make sure you're the only photographer running around with your professional gear. You want to be exclusive in this regard to build their trust and have total access with this band. Sure, there will always be the band's family and friends with their iPhones and point and shoot cameras, and that's fine.
So now, you got your band, Great! If you haven't switched over to shooting in manual mode, this is where the learning begins on low light photography and learning the camera settings. To be professional, no flash, please! For me, it was easier to learn manual by shooting in low light first. Another necessity; study those who came before you. Spend some time and study at the works of other music photographers, for they are your Rembrandts and Monets. Look at their work and try to determine what it took to get that shot. Some of my favorites are: Bob Gruen, Allan Tannanbaum, Rob Shanahan, Lynn Goldsmith, Henry Diltz, and Annie Leibovitz.
Next time we'll talk about providing the right shots for your band, and photographer's etiquette!