This topic is discussed everywhere: at school, on the Internet, in the work of seminars and lectures, but nevertheless, it either eludes many photographers, or they ignore it consciously. In any case, after I see portrait shots clearly taken at the wrong focal length, my inner world reaches a boiling point, and I decided to write an article about which focal lengths are "correct" and which are not.
First, let's talk about what I mean by "right" and "wrong". Recognize that in this topsy-turvy world of postmodern art that we live in, many of the traditional tenets often break down for the sake of a creative concept.
I understand that some photographers may purposefully choose a lens that distorts facial features, following their concept of what they have chosen for their photo. Their right.
Of course, any of the scenarios explained would be fine, as long as it's made on purpose. But cases with "wrong" choice focal length when impatient image makers make paid photosets and create "Pinocchio's head" in the photo and the like, they strain. The gullible masses of people, often uneducated in the field of technical beauty of photography, will not say anything, even if they nevertheless notice that "something is wrong here."
When people come to a photographer, they just want their portrait to be beautiful and not look like a caricature. They do not need to go into details and nuances. The photographer must know this. With that said, let's dive into the selection of portrait lenses.
Distortions inherent in the wrong choice of optics are best seen in portraits taken like a passport, i.e. on the shoulders. The explanation for this distortion is very simple, in order to photograph a shoulder-length portrait with optics with a short focal length, for example 35mm, we will have to get close enough to the model, which will give rise to a larger viewing angle of the frame and, accordingly, different distances to different parts of the face, such as the nose, eyes, eyebrows and cheekbones. Meanwhile, if you take pictures with a large focal length, for example 200mm, then the difference in the distance from the lens to the nose and from the lens to the cheekbones, for example, will not be significant. The nose suffers the most in this matter. Thus, the smaller the focal length of the optics, the greater the difference in these distances to different parts of the face and the greater the distortion that seems unnatural to our eyes. Here, the picture clearly shows what we are talking about.
Let's look at a series of photographs of the same person taken at different focal lengths. Go:
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At the bottom of each photo is signed at what focal length a particular photo was taken. What conclusions can we draw? If we do not pursue any specific goals and we do not need distortions in the proportion of the face, then it is not advisable to shoot shoulder-length portraits with optics with a focal length of less than 50mm (you should also take into account the crop factor of your camera). It is not for nothing that lenses with FR = 50mm are popularly called "portrait lenses". As for the rest of the focal lengths: everything above 100mm does not differ significantly. From 50mm to 100mm I consider the optimal focal length for shooting passport portraits. For me, the most pleasant picture on FR = 85 mm. And for you?
These are the simple truths outlined in this lesson.
Good luck to everyone in your endeavors and of course good pictures, friends!
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It is very easy to photograph a concert, although it is a little more difficult than any other event, as it requires preliminary preparation.
At the concert, you should try to get into the dance stalls, if there is one, of course, in order to be closer to the stage and be able to move around. Sitting in the gallery, you won’t take a good picture of anything.
You need to come to the concert in advance, at least an hour before the start, if the concert is large, so that you can choose a suitable position, look around, figure out who will stand where and what to play. In smaller clubs this is not necessary.
Don't take photos of the musicians when they say something funny between songs, it won't show in the photo anyway. It is better to concentrate on emotions in the climaxes of numbers.
Think about what angle you will shoot the musicians from, because each musician may need a different angle. Like when shooting a guitarist, it is important whether he is left-handed or right-handed, it depends on which side it is better to stand.
You can shoot in any mode you like. Personally, I prefer to set a higher ISO so that the shutter speed is as short as possible so that movements are not blurred, usually 1/250 is enough. The focus type is tracking one point. One point is needed so that your camera does not focus on the hands from the crowd, which tend to appear at the most inopportune moment.
The aperture itself and shutter speed must be selected already in the course of events, referring to the result on the screen. When it is not clear what kind of lighting will be, or it is very difficult, set the automatic white balance. If there is a lot of yellow and red in the lighting, then it makes sense to set the balance to the incandescent lamp. In general, you will have to experiment and look for what settings work best.
Among other things, it is important that you know the repertoire and be able to predict what will happen in the next moment.
If you are not familiar with music, then most likely you will simply miss the most interesting and unexpected moments.
Turn on continuous shooting and do not spare frames, then you can always delete the excess. It is important here that you have a bigger and faster card, and it is even better to have a spare one. 3000-4000 frames per concert is a common thing.
Sometimes lasers are turned on at concerts. First, avoid direct eye contact with the laser, it is very harmful to health. Secondly, do not get carried away catching direct laser beams with the lens, this can spoil the matrix in your camera. You don't need to be afraid, you need to know. If you want to take beautiful pictures of laser beams, then you will have to increase the shutter speed to about 1/30.
Some concerts may not let you in with a camera, or you may be asked to leave if you are caught during the performance. Think in advance what you will do in this case.
Here are photos from some of the concerts to get you inspired:
Thank you for your attention.
- Difficulty: Medium
- Completion time: 4-5 hours
- Requirements: fast lens, earplugs and a concert!
Taking pictures at a concert can be a real challenge for aspiring photographers. Without the right equipment and realistic expectations, this area can be one of the most frustrating to work in. When I started filming live shows, I read everything I could find to prepare myself the best, and yet most of my lessons were not easy for me. Trial and error aside, here are a few things every concert photographer should know.
Step 1: The right lens
First, you need a fast lens. If a this term Unfamiliar to you, it is used to describe lenses with the widest possible aperture (smallest aperture value). You can use a zoom lens with a maximum aperture of f/2.8 or a prime lens with f/1.8 aperture. For most of my live shots, I use a 50mm f/1.4 prime.
Using a flash is an option, but you can't rely on it completely. Many venues, bands, and journalists have a "no flash for the first three songs" rule, or no flash at all. That's why it's great to start with a "fix". It will allow you to get great sharpness, and has a large aperture.
Step 2: Speed, and how to capture it
Second, keep in mind that this is a passive form of photography. You will not be able to manage people or exercise any control over the unfolding action. Your advantage lies in the ability to compose shots on the fly. Events will develop at a frantic pace, and you will need to keep track of them. Musicians who have experience in performances most likely have a well-established plan of action and their own mode, or simply put on a show, and move around more than all the subjects you are used to shooting.
As is often the case, the simplest answer is the correct one; you need a short exposure. That is why I put such emphasis on a fast lens. With it, you'll be able to take better pictures of musicians at shutter speeds that can't be used with a kit lens or anything limited in maximum aperture, without exposure loss. Many of my favorite concert shots were taken at 1/160 second and f/2.0.
Step 3: Sensitivity - no, not the same
Third, consider the context and purpose of your shots when purchasing new equipment and choosing camera settings. ISO plays important role if we are talking about the capabilities of your camera and how it handles noise. You probably already know that the higher the ISO, the more sensitive your camera's sensor is to light, and the brighter your image will be by adding more grain to the frame.
Many of the newer camera models have much better high ISO performance with less noise and better images, so this is something to look at when you decide to upgrade your body or buy that new prime.
By the same logic, keep this in mind: a fast shutter speed obtained by increasing the ISO from 800 to 1600 (for example, from 1/60 to 1/125) can make a big difference in terms of getting a sharp image that captures the movement of the performer, instead of a blurry shot. Many publications and websites will prefer a sharp and slightly noisy image to a blurry image without noise.
Step 4: Do your homework
Fourth, it might not be as exciting as the show itself, but do some research before you go on set. You can collect many useful information about how the musicians move, what the concert hall is like, what kind of lighting is used, just by looking at photos of previous performances, which will help you take great pictures and outperform other photographers in the hall.
Many photographers blog about the performances they have filmed and provide tips and tricks, as well as reviews of the shows they have attended. These records are a goldmine for finding information; they often contain information about the specific camera settings and equipment used. A great place to start is Todd Owyoung's I Shoot Shows website.
Step 5: Be realistic about your expectations
Many are attracted to this type of photography, beckoning magazine and album covers, roaring crowds and encounters with rock stars. I am definitely not telling you to give up on your dreams and give up hope, just be patient. Posting in one form or another and meeting your favorite band are certainly achievable goals, but expecting this to happen within weeks or even months of filming is unrealistic and dishonest to you. It takes time to adapt, hone your skills and get noticed. Once you do that, you'll be happy you got sucked in.
Step 6: Save Your Hearing
I would venture to guess that if you are into any type of concert photography, you are also a fan of music in one form or another. Otherwise, I take my hat off to your interest in this kind of photography because of the damage it can do to your hearing. Concerts are loud, so you might want to get some earplugs. Even if you buy a cheap pack of disposables, I strongly recommend that you do so, because it will allow you to continue enjoying music for several years after you set foot on your chosen path.
This is a very simple step that some may find inconvenient, but lost hearing may not recover over time, so this is a very important part of concert photography. Personally, I use Etymotic Research's ER 25 Musician's Ear Plugs, which fit my ear with the right shape and reduce noise by 25 decibels. Find a pair that's affordable and comfortable for you, and wear it with your camera gear.
Step 7Get Access
The ultimate goal of a concert photographer is to build a small network of journalists and editors with whom he can work. Journalists will help you get access to the show as they work for bands and labels. However, now you are facing the chicken and egg problem in concert photography. You can't get access to a concert without the above links, but you also can't make those connections without a portfolio of the shows you've filmed.
This is not as big a problem as it might seem. If you don't have a concert portfolio, you just need to start from the bottom. You can contact bands or concert halls to see if they need performance photos, take advantage of free shows or "battles" between bands, or pay for tickets yourself until you reach a certain level.
Warning: Concerts by more popular bands with expensive tickets will likely have a photo zone (a section surrounded by barriers) and will require a photo pass to take pictures. If you ignore this warning, security may politely ask you to leave if caught filming.
Step 8: Filming the Show
Okay, you've come this far. Isn't it too much work for a simple concert shooting? Maybe, but I'm trying to help you get it right the first time. You've packed your bag and checked out your gear, and you're now ready to shoot your favorite musician.
Please arrive early and film the "warm-up". This is important for a number of reasons - you'll get used to the lighting in the venue, you'll recharge the mood of the crowd, and most importantly, you'll practice shooting in the specific conditions of that particular show, which will allow you to get better results for some of the headliners.
It's also worth noting that the "warm up" part doesn't get much attention from the photographers, so they'll probably be doubly grateful for your hard work. Also keep in mind that you should shoot in RAW, because. this will help you pull out photos during processing in case of extreme lighting conditions that you may encounter at a concert.
You may have to move while shooting because taking all the shots from one point is boring and won't help you develop. The problem is that most of the time you'll have to work your way through the crowd, and most concert goers prefer to stay where they are.
Be polite, smile, point to your camera when necessary, and just ask if you can step into their shoes for a song or two to take a few shots. Don't forget to say thank you when you're done and keep moving. This is the best approach I've found, because no one likes rude photographers who shoulder and elbow their way through the crowd.
Position yourself comfortably near the stage, select initial settings on your camera (eg ISO 800, 1/125, f/2.0) and take a few shots. Check the exposure and adjust the camera accordingly. You'll likely find a setting that works for most lighting conditions in a given concert hall, and you'll only need to make small adjustments to shutter speed and aperture, allowing you to focus on watching the action and composing your shots. Remember to have fun, this is a concert after all, and if you think you've missed a shot, take another one.
Step 9: What's next?
You've made it home, and you've survived all the sweat, noise, and pandemonium - but the job isn't over. If you're shooting for a publication or a blog, you probably have a deadline. Even if not, you still need to assign it yourself. Timely availability of pictures will serve to build your good reputation.
Since this is just a general guide, I won't go into detail on processing, but I should point out that you will eventually develop your own style. Most of the processing will be done in your favorite RAW editor like Apple's Aperture or Adobe's Lightroom.
You should follow general rules journalism in terms of improving the quality of photographs without distorting the essence of the events that really happened at the speech. The point is to experiment within reason.
Conclusion
Concert photography is a lot of fun and rewarding, but it's unlikely that it will generate enough income for you to pay your bills solely with these images. Whether you're an avid music lover or just looking for a different way to unleash the creativity of your photography, it's well worth the effort and this guide should get you started.
There are no secrets, no shortcuts, and it can be hard to measure your progress, but you'll be happy that you're doing it and meeting so many amazing and amazing people. interesting people on your way.
Hi all! Today is the next issue of the column and my friend, a wonderful photographer, is visiting us Alexander Zaraisky, aka zarajsky -Photographer, journalist, blogger, human rights activist. He is the owner of an impressive collection of articles on photos and near-photographic topics, with his permission I will share the most interesting with you))So, word to the author:
Well, finally I decided on this article, otherwise it’s a mess :) many of my friends concert photographers have already written about it, but I’m still silent :) as if I don’t know how to write at all :)))
Usually all such articles begin with stories about how to get accreditation, but here I will stand out and start with something else :)
Technique.
Before you make an attempt in the field of concert photography, you must clearly understand the possibilities of your technique and build the entire shooting based on them.
Immediately remember a simple truth when shooting concerts flash DO NOT USE.
There are several reasons for this.
Firstly, the flash "kills" all the stage light (if any) and thereby destroys the "atmosphere" of the concert.
Secondly, your leading 40-60 hit the eyes of the artists who stand and look into the dark hall very hard and quite painfully. Even when soapboxes are puffing from the back rows (with a guide number of 7-11), it’s already quite unpleasant to imagine how your 56s are hitting from two steps. After such a poor artist, he simply goes blind for a while.
Well, since when shooting you will have to rely only on high ISO, then you should proceed from these capabilities of your equipment.
Camera.
Definitely better if it is a SLR.
It is SLR cameras that are able to provide a fairly fast response to what is happening on the stage and fairly high ISO.
At the same time, count on the fact that you will have to shoot with ISO from 1000 and above, and it is very good if your camera provides a sufficiently high-quality picture (with minimal noise).
Personally, I now shoot on the Canon 5D Mark II, which I bought precisely because of the high ISO, and before that I used the Canon 30D.
However, most modern DSLRs have a working ISO of at least 1600 and are quite suitable for our purposes.
You can argue that in fact, many soap dishes have quite a working 1600 and this is true.
But all soap dishes are inferior to DSLRs in focusing speed, especially in such difficult conditions as concert lighting and have too much shutter lag.
Knowing these shortcomings, it is possible to deal with them, but many shots will still be missed.
Lenses.
There is one rule: the brighter the better.
Lenses with apertures of 2.8, 2.0, 1.4, 1.2 would be ideal.
As for the focal length, there is no one rule here and you need to proceed first of all from the room and the conditions in which you have to shoot. Most likely, focal lengths in the range from 17 to 200 mm will be the most popular.
Avishai Cohen Vocal Project
Canon EOS 30D, Canon EF 50mm f/1.4, 1/1000, f/2.0, ISO640
Using zooms or primes depends solely on the availability of one or the other and your personal approach to shooting.
Should lenses be stabilized?
Personally, my personal position is unequivocal - no. A stabilizer for concert shooting is a completely superfluous thing that only eats up your battery life (later you will understand why).
Protective filters.
The thing is very necessary. during a concert, artists in the heat of the moment can pour water or even artificial blood on the audience (various rock bands usually sin), and on the part of the audience it can be splashes of beer or other alcohol, or even someone's hand in a studded bracelet.
So, a cleaning pencil, as well as special wipes and liquid, will not be out of place in the arsenal of the photographer.
Tripod and monopod.
Absolutely superfluous bells and whistles are completely unnecessary in concert photography.
Accreditation.
And now, when you have appreciated the photo junk that is laid out on your sofa :))) and you can think about shooting.
And for starters, practice on … .. cats! :))))
Well, not exactly on cats :)) although, of course, there are also girl groups :)))
I mean the clubs that are now in almost every city, but in enough major cities there are at least a few of them. Most often, their own young teams perform in them.
Further everything is quite simple. You can either talk to the club management and agree on accreditation, or even easier, by rewriting the name of the performing teams, find their Vkontakte group (other social networks) and arrange photography directly with the group itself.
It is rare when a young start-up team refuses a “personal photographer”, especially if you promise to give them part of the footage for placement in the same “Vkontakte”.
group "deliKate", club "Jazzter" (Kharkiv)
Canon EOS 5D Mark II, Canon EF 17-40mm f/4.0L, 17mm, 1/100, f/4.0, ISO 3200
And here, we come to the most important thing. :))
Regardless of how you get accreditation for a particular event, you will have to pay for it by giving the footage. You will have obligations anyway.
And that is why it is worth starting with technology and approaching the assessment of its capabilities is extremely critical.
That is why it is worth starting with young beginner groups performing in clubs that are not yet so demanding on the quality of the material being filmed (unlike the same art director of the club).
It is this kind of photography that will give you the opportunity to evaluate your strengths and the capabilities of your equipment before getting into big sports at fairly large concerts.
I will say even more. If you manage to shoot in clubs, then in large halls it will certainly be easier :)) (although not a fact).
But now your hand is full, the technique has been tested and you are rushing into battle, especially since your favorite group “Planning Socks” is coming from the most capital city of St.
How to get to the concert? (well, except to buy a ticket and shy away from every guard)
There are several ways.
One of them will get a job as a freelance correspondent (not at all full-time, not quite full-time, a quarter full-time, but “at least with a stuffed carcass”) in one of the local newspapers or in some local online publication.
There are two options for cooperation. First, you accredit me to concerts, and I give you a few photos for free to illustrate your materials. Option two, the same thing, but they still pay money if some of your photos are printed.
Usually, all the small regional press is experiencing difficulties in money and rarely refuses the services of a photographer who is willing to work for nothing :)))
Well, then getting accreditation for a concert will no longer be your headache.
However, there are situations when, due to its profile, the publication is not very interested in covering cultural and sports events, and then you have to take everything into your own hands and live by the principle of giving a machine gun a journalistic certificate and spin as you like.
So it is quite possible that in this case you will have to write off or call up the organizer of the concert yourself and introduce yourself as a correspondent for the newspaper Babushka & Co. to the concert.
If you are writing an accreditation letter to a team manager or concert organizer, the style should be businesslike and polite. The letter should briefly state who you are and what your publication is like (its focus, circulation and/or web traffic statistics, etc.), links to examples of other reports.
But if for most concerts of the local level and for the stars of the second and third divisions, in order to get accreditation to be photographers of a not very well-known publication, this option is unlikely to work for really big concerts and festivals.
Here you need to understand in what order accreditation is given in most cases.
For example, the procedure for accreditation to an international (or not very international) festival, let it be jazz, will look something like this:
1) Large central media;
2) Large specialized publications (in our case, publications that write mainly or exclusively about jazz) and Internet portals;
3) Major music publications and Internet portals;
4) Large local (city, regional) mass media of general news orientation;
5) Local publications specializing in music and culture, including online publications;
6) All other local media;
7) Highly specialized, low-circulation local media who suddenly came up with the idea of getting accreditation (such as writing mainly about dachas-gardens, or publishing tips and recipes on how to pickle cucumbers for the winter :))
Outside this list and out of competition are publications that act as information sponsors and photographers of the general (and not so general) sponsors of the event.
Naturally, the photo-pit is not rubber and you and your newspaper "Babushka & Co" can fly past the accreditation "like plywood over Paris" :)))
How to be here?
This is where everything that you have removed before will come in handy. this is your portfolio.
Armed with it (only I beg you not to upload all 2000 photos to the laptop, no one will watch them), or rather, having selected up to 40 of the most successful pictures, you should offer your services as a photographer to all those who, in your opinion, will get to this concert as accredited media. Here you should rely only on luck.
Sometimes it happens that, for some reason, only a writing journalist comes from some specialized or general music publication without a photographer, and if you shoot tolerably enough (which your portfolio should say), then you can very well expect that you will be hired as a photographer (at the same time, you will have a good chance to be featured in a specialized publication).
Exactly the same situation can be with large local media. A full-time photographer can get sick (be on a business trip, have a fight with the editor-in-chief and leave slamming the door) and your offer may well turn out to be that very saving straw.
The main thing is not to be shy and not afraid to ask and offer their services “Knock and it will open”.
Alternatively, you can write to the organizer of the concert or festival (or go to their office) with a link to your portfolio and offer your services as a photographer.
Most likely, the organizer of the festival (concert) has already taken care and hired a photographer who will be the “official photographer of the event”, so you have a chance to jump into this car only if you shoot well and offer your services for FREE, just in exchange for accreditation.
In general, motivation is of no small importance in all this.
Why You Need It?
If you are trying to earn a pretty penny with this, and then even on the most early stages your development as a photographer should be avoided shooting for free (well, except for the first 2-3 times purely for getting an initial portfolio), if this is a hobby for you and you are simply rushing from the process itself.
The only thing worth throwing away is that you will be able to get to the concert for free in this way :)))
Remember what I wrote about obligations?
So, you will have an obligation to give good shots for accreditation :) and believe me there will be no time to listen. Your Moscow will most likely be busy solving only one problem "How to shoot!".
The exception is the case when they are allowed to shoot only the first 2-3 songs :) after that you can sit down in your place (if you have been allocated one) and calmly listen to the concert.
I will not write about the fact that before shooting you need to check for clean memory cards and charged batteries, I don’t want to be like foreign publications that initially consider their reader to be a down :)))
Although, of course, I once had to see how a photographer who came to the concert discovered that the battery from the camera was left in the charge at home.
Photography.
It is best to come to the concert in advance.
Firstly, you will probably have to register (check in) with the organizers and get a “Press” badge, by which you will be allowed into the hall and the security will be able to identify you.
If this is not a major event, and a regular concert of badges may not be, and you will simply be given an invitation card at the entrance with or without a seat, according to which they will let you into the hall.
Sometimes the person with whom you negotiated accreditation may forget to warn you at the entrance or put you on the list, then you will have to call him and remind him of yourself, and this is all the time.
Secondly, being among the first in the hall, you will have the opportunity to evaluate where it is better to stand, or if you are a complete beginner, observe how and where more experienced photographers are located. This will also allow you to estimate in advance which optics will have to be used and, based on the settings received, will tune in to shoot.
Sometimes concert organizers organize a photo-pit - a specially designated area for photographers.
This is both bad and good.
The good thing is that you can work calmly in the photopit without looking at the audience, but the bad thing is that this is only one shooting angle. Moreover, when organizing a photo-pit orgies, they rarely care about the convenience of photographers, as a result, you may end up in a place where shooting is either impossible or very difficult (for example, it may be very far from the scene).
Photopit at the concert Scorpions- a narrow space between the audience and the stage (I just got into the frame).
Thanks for the photo Ilya Pshenichny (Iluhis)
But most often no one bothers with organizing a photo-pit.
For the press, the first row is simply assigned (or the first row for photographers, and the second for writers) and that's it.
But this is at best. at worst, due to the greed of the organizers, the front row seats may well be sold and you will have to work in front of the stage, listening to constant reproaches from the audience that you interfere with.
The organizer or group (sometimes this is written directly in the raider) may impose certain restrictions on filming.
For example, they may only be allowed to shoot the first 3 songs of each group (if, for example, it is a festival). They may prohibit filming directly in front of the stage and then you will have to huddle in the side aisles.
Sometimes the room itself imposes certain restrictions on shooting.
For example, in the Opera House there may be a large orchestra pit in front of the stage, which in one fell swoop sweeps aside the use of wide-angle optics and changes approaches to shooting.
Nino Katamadze, Opera theater (Kharkiv)
Canon EOS 5D Mark II, Canon EF 135mm f/2.0L, 1/640, f/2.0, ISO 2500
If the shooting time is limited (2-3 songs), or it will be extremely problematic to change the position after the start of the concert, try to find on the Internet and watch several videos from other concerts of the band or artist.
The fact is that it is extremely rare when the vocalist of the group (or performer) “works” strictly for the center of the hall, instead the artist turns to some part of the audience. 
Dan McCafferty from the Nazareth group, works only for the center, regardless of what is happening around.
Canon EOS 5D Mark II, Canon EF 70-200mm f/2.8L, 200mm, 1/1250, f/2.8, ISO 2000
Most of the artists are divided into right-handers and left-handers and, depending on this, they prefer to work mainly in one direction.
Nino Katamadze, the stage is equipped so that Nino faces the right side of the hall,
Opera House (Kharkiv), Canon EOS 5D Mark II, Canon EF 70-200mm f/2.8L, 120mm, 1/80, f/2.8, ISO 2500
And if for the viewer most often this is not important because he sees and hears everything in dynamics, then for the photographer the choice of the wrong side can turn into the fact that in 80-90% of the time he will contemplate the back of the artist's head.
If there is a time limit for shooting (2-3 songs), then you should check with the organizers whether after that you can shoot from a distance using a telephoto camera. If yes, take advantage of this opportunity. 
Scorpions, Sports Palace (Kharkiv)
Canon EOS 5D Mark II, Canon EF 100-400mm f/4.5-5.6L IS, 365mm, 1/200, f/5.6, ISO 2000
If you are shooting for the media, do not forget about the mandatory standard :))
This is, firstly, an expressive, emotional portrait of the frontman and / or vocalist of the group, secondly, if possible, portraits of the rest of the team members, and thirdly, the general plan (the whole group on stage). 
Chaek, club "Pintagon" (Kharkiv)
Canon EOS 5D Mark II, Canon EF 24-70mm f/2.8L, 70mm, 1/40, f/2.8, ISO 2500
Ryan Cohan Quartet, jazz festival "Za Jazz Fest" (Kharkiv)
Canon EOS 5D Mark II, Canon EF 100-400mm f/4.5-5.6L IS, 100mm, 1/160, f/4.5, ISO 3200
Sometimes it is very problematic to remove one or another member of the group. For example, a drummer can be stuffed into such fucks and forced along the way with so many (often unnecessary) music stands and microphone stands that it will not be possible to get to him.
In general, excess iron on the stage is a very big problem for the photographer.
In this regard, concerts of stars are very advantageous. international level. For example, there was not a single extra piece of iron on the stage during the concert and Nazareth and Scorpions. 
Scorpions, Sports Palace (Kharkiv)
Canon EOS 5D Mark II, Canon EF 24-70mm f/2.8L, 25mm, 1/1600, f/2.8, ISO 2000
Our technicians, not only do they care little about how photographers will shoot while placing stands and music stands, but also very often you can see several stands and music stands on the stage, which for the whole concert remain never in demand. But at the same time, they seriously interfere with the shooting by blocking the view or “stick out” from the backs and heads of the performers and other members of the group.
In this case, all sorts of solo performances or improvisations by individual members of the group can help out, during which they either come closer to the audience, or the entire stage is darkened, and one spotlight is sent to the musician.
Maxim Guselshchikov, group "Krematorium"
Shooting from the upper balconies, for example, can also help out. This not only allows you to reach the "closed" members of the group, but also often gives interesting angles.
Having removed the obligation for the media that accredited you, you can engage in “free creativity” and here you can catch unusual angles to the fullest.
If you work in the front row, you should not stick your ass up all the time, blocking the view of the audience and causing their righteous anger.
After all, they came to look at the performance, and not at your sirloin.
Instead, sit down under the stage and carefully follow the emotions of the artists and the play of light in order to rise at the right moment and take a series of shots.
Lauren Cohen
Why a series?
Everything is very simple. You will most likely have to shoot at "borderline" shutter speeds.
As I said, concerts are filmed without flash, and most of them will have minimal lighting.
So you have to raise the ISO to an acceptable maximum, open the aperture to the full and pray to all the photo gods that there would be enough shutter speed.
Experience shows that it is extremely rare for ISO 1600-2000 and aperture 2.8 to have shutter speeds shorter than 1/160. More often it is longer than 1/100 or 1/80, or even 1/60 or 1/30 in general.
This is very little (or a lot, depending on which side you count).
Canon EOS 5D Mark II, Canon EF 100-400mm f/4.5-5.6L IS, ISO 1600, f/5.6, 1/30 , 360mm
Firstly, at such shutter speeds, the question of shaking arises (I hope you remember that in order to minimize the effect of shaking, the shutter speed must be proportional to the focal length, as an example, with a focal length of 200 mm, the shutter speed should not be longer than 1/200, and even shorter is better) especially when using telephoto lenses.
Well, secondly, with such shutter speeds, artists can simply be smeared due to the actual movement. This is especially true for jazz and rock concerts, where emotions just go wild, and musicians are able to do the most unimaginable somersaults on stage.
Lauren Cohen(Lorin Cohen), Ryan Cohan Quartet
That is why shooting a series during a concert becomes so relevant. This is both a way to deal with shaking (almost certainly one of 5-7 frames will be sharp), as well as a way to catch an actively moving artist in some phase of movement.
That is why lenses with a stub are practically useless. At fast shutter speed you will have sharp shots anyway, and with a long shot, the musicians will be smeared on their own :))) and no stub will help here.
For the same reason, a tripod or monopod will be absolutely useless. They will only hamper your efficiency and will not bring anything to the shooting.
However, shooting in a series requires fast memory cards and a sufficiently large buffer in the camera, otherwise you will have to wait a long time until the captured series is recorded on the card, and while you are waiting, you may well miss interesting shots because the concert does not stop :).
Well, it's clear that there are never too many cards :) so make sure that you have enough of them for the whole concert.
If you have the opportunity, never stand in one place, but try to move around the hall looking for interesting angles, use the play of light and shadows.
Nicolas Mahieux Jeremiah Ternoy Trio
Play with individual elements (for example, masterfully shot hands of a guitarist or pianist can turn out to be quite a worthy independent shot or perfectly complement the series) and reflections.
Experiment with backlighting, it can give interesting results.
Pay attention to the public... 
Concert of Vyacheslav Butusov Concert Hall "Ukraine" (Kharkiv)
Canon EOS 5D Mark II, Canon EF 135mm f/2.0L, 1/40, f/2.0, ISO 4000
Among it there can be colorful personalities.
Here one hundred percent useful shirik which not only distorts the perspective but also adds dynamics to the frame.
Do not miss the opportunity to shoot backstage, pay attention to the dryness before the concert.
Often, after the concert, the musicians again go on stage to give autographs (or this happens immediately after the final chords) do not miss this moment!
Also, do not miss the moments when the artist enters the hall during the concert. 
Nino Katamadze HATOB (Kharkiv)
Canon EOS 5D Mark II, Canon EF 70-200mm f/2.8L, 200mm, 1/50, f/2.8, ISO 6400
Some nuances.
When shooting, pay attention to colored lighting. Some of its types, for example, such as red, pink, purple and shades close to them, are able to “light up” the frame so much that the artist’s face turns into just a shapeless mask. 
Group "Aria", KKZ "Ukraine" (Kharkiv)
Canon EOS 5D Mark II, Canon EF 24-70mm f/2.8L, 24mm, 1/500, f/2.8, ISO 2500
Very "delicious" shots can be obtained when smoke is used during a concert. Firstly, due to the fact that smoke scatters light, the overall illumination of the scene increases dramatically, and secondly, smoke adds volume to the entire scene or creates interesting lighting effects. 
Group "SunSay", HATOB (Kharkiv)
Canon EOS 5D Mark II, Canon EF 70-200mm f/2.8L, 70mm, 1/160, f/2.8, ISO 2500
Very spectacular shots are obtained when a smoky scene is backlit. Then the artists turn into ominously monstrous shadows. :)) This is especially true for rock concerts.
But alas. Sometimes the smoke is so careless that it only gets in the way. Then the whole group is either completely hidden in the smoke or the smoke simply does not fulfill its role. Perhaps from the audience it looks acceptable, but the photos are so-so.
Due to the large differences in brightness when shooting, it is best to use lock-on spot metering. Then, focusing on the face of the artist, you will be sure that it will work out normally in the picture, and the exposure after changing the framing will remain unchanged.
It is better to turn off the autofocus confirmation signal, and your slamming the mirror is enough :))) you should not create unnecessary noise.
But the function of expanding the dynamic range, if you have it, it is better to turn it on, this will help to avoid unnecessary overexposure.
In general, the brightness of the screen of your camera can play a trick on you, creating the impression of bright, well-exposed frames, so it's best to look at the histogram from time to time while shooting.
In order to avoid unnecessary overexposure, as an option, you can enter exposure compensation in the minus and thereby get a small gain in shutter speed, but you should not get carried away with this.
The fact is that high ISOs are “working” at the limit of their capabilities and usually pictures do not make noise only if they are correctly exposed. But as soon as you rely on their quietness, you will fail them into minus by more than 1 step, and then try to pull them out in the RAV converter here and get "all the delights of life."
As you understand, it is better to shoot in RAW, which will later allow you to process your pictures more efficiently.
The only exception would be if the publication requires you to submit a photo immediately after the shoot. Then you will have to pay more attention to setting the camera to order an acceptable result when shooting in jpg. But even in this case, it is better to shoot RAW + jpg. You will give the latter to the media, but you can work with the RAVs later.
Composition.
Any concert shooting is the same shooting of people as any other with all the ensuing rules and restrictions.
Remember the basic rule for little men? :))) "If a person has limbs, they must be!" so do not arrange dismemberment on stage :))
And if you really cut off limbs and heads, then do it according to the rules for portraits :))) well, or at least as close as possible to them :)
Naturally, any rules are created in order to be broken, but in order to break them, you must first know them and be able to use them, and then even dismemberment will not spoil a good and emotional frame :)))
Ron Carter
The same goes for tools. Do not cut the necks of guitars and cellos without special need, usually this only spoils the impression of the frame.
Well, read the general manual about the composition in the photo essay. For this, even such antiquity as S. Morozov’s book “Composition in a Photo Essay” published in 1941 is suitable :) If you throw out the ideology from there, then everything else is written in a simple and understandable language that is quite understandable for a beginner (which is not surprising because the book was written for Correspondence photography courses!).
However, do not forget about some salient features peculiar to certain performers (someone plays with their eyes closed, someone makes scary faces, someone “dies” on his instrument every time)
John Scofield playing with closed eyes
It is desirable to know these features so as not to wait for the whole concert until the artist opens his eyes :))) Well, or vice versa, to be able to use the characteristic antics in order to shoot an interesting shot.
And of course, very often seeing that I’m shooting them, the artists begin to play along with the photographers, and you shouldn’t miss such moments. Oddly enough, this is characteristic primarily of jazz and rock stars of international level. It probably works "The photographer already has only two songs to shoot us, and he also needs to feed his family. Let's help him make cool shots !!" :)))
Scorpions, Sports Palace (Kharkiv)
Canon EOS 5D Mark II, Canon EF 24-70mm f/2.8L, 24mm, 1/1000, f/2.8, ISO 2000
Clothing and behavior.
Clothing should not be bright colors (ideally black, dark blue, gray, brown), clean and should not restrict your movements.
If you are at a concert for the first time and don't know how to behave, what you can and cannot look at other photographers, but don't forget to analyze what you see :)
For example, if you see that some photographer is taking pictures from behind the scenes or carefully stepped onto the stage, this does not mean at all that everyone can do this.
Most likely, this is either the official photographer of the group or the official photographer of the festival, and due to these circumstances, he has more rights and opportunities than the rest. :))))
So do not immediately climb onto the stage with a camera at the ready :)
In any case, you need to behave in such a way that you do not create inconvenience for the audience and do not interfere with other photographers.
What you definitely shouldn't do is argue with the guards.
If some guard doesn’t let you go somewhere, and you are sure that you can go there (for example, you agreed this separately with the organizer), then it’s useless to prove this to a single guard, he most likely received clear instructions “not to let anyone in” and no matter how much you didn't convince him he wouldn't move an inch.
And it would be very stupid to try to break through by force. You will simply be thrown out of the concert, and even earn yourself the glory of a brawler.
Instead, if you are sure that you are right, ask to call the head of security or try to get through to the one who “gave you the go-ahead” so that he would confirm your authority.
By the way, some photographers use ear plugs at concerts. you often have to work right at the speakers, and then you won’t be able to go deaf for long.
During the intermission, you should not lean on alcoholic drinks in the buffet, otherwise you can drop the lens for a short time :))
Nothing is so sobering as a 2 k.u.e. lens caught on the fly 5 centimeters from the concrete floor :)))
Filming in clubs.
Shooting in clubs usually differs from shooting in large halls only by closer contact with the performer and the audience (behind the photographer's back) and even worse light.
Band guitarist Gruhak, club "Jazzter" (Kharkiv)
At the concert Chaek in order to change position, I had to make my way through the audience, and then literally sit on some of them on their knees :)))
If the light is “bad” in the halls, then it simply does not exist in the clubs. So the best way out for the club will certainly be to use wide-angle aperture fixes if you have such in your arsenal.
That's why I said that if you manage to shoot in a club, then at big concerts it will already be easier :)) at least in terms of light :)
What then.
Of course, you need to give the pictures to that person who accredited you as soon as possible (without compromising quality).
Even if the deadline is not set, you should not delay it for more than a few days. Any spoon is expensive for dinner, and a week after the event, no one will need your pictures.
If you already have a lot of good shots, make 15-20 of them as quickly as possible, and finish the rest and give them back a little later.
Even if the accreditation was not given to you by the group, still bother to find their soap on the site and send a link to your works taken during the concert.
Firstly, it will be pleasant and interesting for artists, and secondly, it can (though rarely) give a very unexpected result.
For example, Kobie Watkins, the drummer of the Ryan Cohan Quartet, after I sent them links to my works taken during the festival, asked for one of the high-resolution pictures for the cover design of the disc.
Reconnaissance of the concert venue
Experienced photographers know that before an important shoot - especially a concert shoot - it's worth scouting out the situation on the spot. It is necessary to know in advance what equipment is needed, whether there will be a place to store this equipment. Just as important is information about whether there is room for maneuvers, what angles you can choose for more successful shooting, from which place you should shoot. You need to think about the moment of how to get closer to the speakers for a zoomed shot. By answering all these questions for yourself, you can understand how to photograph concerts.
Problem with lack of light? Need a bright lens!
When shooting in closed dark rooms, and this usually happens at concerts, you need to stock up on fast lenses. After all, flash is often completely useless. In addition, the flashes really interfere with the artists - they cause inconvenience during the performance (well, this is, of course, if you manage to get so close). The way out is to take fast lenses and the stronger the lens, the better. Can be used for concerts. This lens makes it possible to use it at lower ISO values. Thanks to this, you can not only avoid unnecessary noise, but also focus faster. There are many lens options. Another one is this.
Spot metering
Before how to take pictures in a nightclub you need to set spot metering, as you will most likely have to take portrait shots of individual singers or band members. Spot metering is the most realistic way out of the situation in such lighting. Because with multi-zone or center-weighted metering, all dark areas will be automatically compensated by the camera. And this will eventually lead to overexposed character in the photo.
Automatic or manual mode?
The spot metering value will decrease in proportion to the selection of the value.
Shooting concerts rather requires manual selection of parameters and settings, since when automatic mode resulting in a very large contrast of illumination. Often the camera's automation overexposes either the lighting or the band member himself. With the help of manual mode, strict control is possible under rapidly changing lighting conditions.
Experimenting with ISO
Before how to take pictures in a club It's worth experimenting with the ISO value. The ISO value directly affects shutter speed, because most concerts are shot with a shallow depth of field in order to get more light. It is necessary to set the shutter speed according to what is happening on the stage. In the case of very moving scenes at a concert, it is necessary to set the shutter speed to be shorter than 1/60 in order to reduce blur, and if there is little movement, then the shutter speed can be set longer.
For example, when increasing the ISO to a value of 6400, the camera will produce a terrible noise, at ISO 3200 the value is compensated by a shutter speed of the order of 1/10, which will blur the people on the stage. If you use low ISO (for example: 200, 400) together with a flash, you will get a standard photo. Using different modes: reducing power, filling with light, most likely will not give any results. In addition, when working with a tripod at the same low ISO values, the picture is quite likely to be attractive and static but with blurry faces of people.
When using ISO 1600 and mode M (manual), you can get good photos but with high noise. However, this is not so scary, since the resulting noise can be easily suppressed in RAW on a computer. With all this, it should be remembered that everything depends on the camera and lens. Settings must be selected either in advance or already in place.
Creating atmosphere and mood
The whole mood of the photo, the person with the camera creates himself. This is the essence of the author's photography. If you do not see interesting moments, then none will help to do good shot. It is worth trying to look for something unusual on the spot. Something that could accurately convey the feeling and atmosphere of the concert. It can be a play of light and shadow, people and speakers, it is possible to find an interesting viewing angle.
Expanding horizons
Of course, the presence of several lenses is welcome, among which there will be a widescreen one. With its help, the photos will turn out to be very revealing and spectacular. For example, a photo of the whole group at once or a crowd in the hall. Pictures of the entire audience present in the hall always look very effective, you just need to capture the moment of good lighting and visibility of the hall.
Looking for the extraordinary
You need to prepare for the concert in advance. Maybe there will be an opportunity to find out what will happen at the concerts, what zest is expected, what effects will be. This often allows the photographer to be prepared for the unexpected that he can capture.
The closer to the performers, the better.
If you need to photograph each member of the group very close, then you should use. This will help to highlight each member of the group individually. A photograph of the drummers can be a problem, as they are often in the center of the stage and surrounded by a lot of equipment. In this case, you can either sneak backstage (if there is a pass), or use the zoom.
