Concert
and PR Photography
The good, the bad, and
the brilliant
by Carol Wright
Concert
and PR Photography
The good, the bad, and
the brilliant
by Carol Wright
I'm no expert, but I have to look at and scan enough musician photographs to know that most of these attempts DON'T WORK. I can almost guarantee that having your best friend snap off a few shots at your live gig won't give you the results you need to put forth a professional image. And your shaded face may look nice and soft in color, but turns to muddy grey in black and white.To get great concert shots, you'll need fast film, fast lenses, andLONG lenses...or easy access to performers. (Dan Dion uses these: 300mm/2.8, 85mm/1.2, and 80-200mm 2.8 lenses. Steve Marachi says a zoom lens of 70-200/2.8 is a typical concert photography lens. From my experience buying camera equipment, those are very fast lenses for their length. $$$). If you are attempting a studio shot yourself, you can get better results by improvising with additional lights, careful compostion, and a tripod.
Best advice I have is to be honest: Can you tell who the musician is, what instrument he or she is playing? Can you see the body distinct from the background? If shot in color, will the image also work in black and white (it's easy to check using a greyscale conversion in PhotoShop or PaintShopPro). One reader suggests using a "black and white viewing filter," aka "monochrome filter," to preview the scene before shooting. This brownish filter will simulate what the shot will look like in black and white. If the location and lighting isn't right, move to a better location. This filter should be available from Calumet Photo.
Don't you make me come over there and airbrush your photo!
(Okay, so I do it all the time...but will others?)
Live Concert Photos: These don't work, and why. Live Concert Photos: These DO work, and why. Studio and Posed Photos: These don't work, and why. Studio and Posed Photos: These DO work, and why. Image, image, image. Resources for photography books, concert photographers, and photographic sites
Live
concert photos: These don't work, and why...
This shot of a singer in Mexico was taken by a tourist who later booked the singer into our local gallery. "I have a great shot of Juan that I took while he was performing," I was told. I could almost guess what it looked like. I've been there with this shot. Your eye is perfectly capable of picking up the stage lighting and you think the flash will help. It doesn't. Even when you look at the photo, you think it's okay because your mind fills in the gaps.
What's wrong: Warm skin tones will convert to darker grey when scanning to greyscale (remember, red = black, cyan = white in b/w photoland) thus our singer's face mushes into the background. The white t-shirt is not too objectionable in color because the bits of color add interest, but in b/w, the t-shirt overpowers the photograph. The white does, however, define the outline of the musician's body and the outline of the guitar body. What if he wore a dark blue or black shirt? We'd see a floating face and bits of hardware on the guitar neck. Note that the photographer framed the photo to miss the microphone. You don't know how many photos I see with mics hiding the face. If you attended the concert, your mind fills in the details, but with PR photos, you need to see the musician. And what's the matter with dressing up for a performance? Check everything before you snap that shutter.
Live concert
or natural light photos: These DO work, and why...
What works: This live shot of a performance by vocalist Susan Osborn and guitarist Ralf Illenberger is 90% there. (Watch for their upcoming album, ReUnion, featuring also Bill Lauf.) Their clothing is light enough to stand out against the background. (Okay, how many of you musicians think it's cool to wear black?) The mic missed her face (almost) and the mic stand blends with her scarf. Lucky? or carefully framed? Her hand position is SO Susan (extremely graceful) and Ralf is joyously squeezing the heck out of his guitar, just like you'd see him live. The highlighting is great on the top of Ralf's head, but is missing on Susan's. What little you see is airbrushed in. Looks like a music stand blocks Susan, but that can be an easy airbrush job, for those who are willing to take the time.
© 1998 Jon SievertWhy this works: Isn't this a wonderful gutsy shot of Bruce Springsteen by Jon Sievert? Lots of lighting from all directions help isolate the rocker's form from the background. The shiny leather is a definite plus here, as are the faded demins. Sievert took care to have an uncluttered background, but careful framing allowed this tambourine-playing backup singer to be shown. Another inch to the side, and the singer would just be busy-ness. A large part of getting such a great shot is having permission to get this close. Make sure that your photographer has all the passes needed (from both you and the venue) to have access to hall, stage lip, and backstage access. Sievert, author of CONCERT PHOTOGRAPY, has a very nice website with photo tips and image gallery.
See my photos of singer/songwriter Tom Kenyon and read how they almost turned out to be a disaster. A lot of work in PhotoShop saved the day, at least for posting on the internet.
Studio
and posed photos: These don't work, and why...
.
© Carol Wright 1999, who'd even WANT permission?What's wrong: Okay, this one's on me! Originally, the magazine wanted a color shot, so we shot in the soft shade of a tree, and used a flash. My sweater is a dark bright blue, pink face, colorful CD cover, against a grey treetrunk. Black headphones do show against both my hair and my sweater. Looked okay in color. Then, they wanted a black and white shot. What a mess! I've airbrushed this to within an ounce of its life, except I removed a few wrinkles...well, why not? The highlights on my hair and a bit of the headphone are all airbrushed, plus I've brighted up the definition on my face and hand considerably. Biggest change: I outlined myself and brightened the background treetrunk many shades. Would have been easier to reshoot!
Did you know that you can buy special black and white film that can be processed by your speedy-photo? Might do in a pinch or as a backup. (Usually, black and white film has to be sent out to the Kodak lab for processing.) Once you have the negs, you can have the speedy-photo print them up on their stock paper. They may have a color tinge to them, but this slight tint is usually acceptable.
So, on those overcast NW days (the mother of all "light soft boxes") that are so complimentary to the skin tones in color, be sure to shoot with the subject's face in as much light as possible and rotate the face to enhance the defining shadows. Don't be lulled by the hazy day...look to see what's happening. Or shoot one of those natural light shots with light coming from a side window. Then the room helps create the appropriate shadows. See Bill Wolford's shot immediately below. Have white cardboard or a lamp handy to direct more light from the inside. For tips about natural lighting and flashes and for studio setups, see Philip Greenspun's tutorial pages.
What works: This shot came from monster.com's beautiful black and white Superbowl commercial based on the poem "The Road Not Taken." (Read there about the creation of the ad, Robert Frost's poem...an inspiring creative process.) You'll see a lot of great black and white photography on television these days on ABC's station promos and IBM's commercials. What gorgeous natural lighting, dramatic pose, the light behind her head so there's ample definition of her hair. "Classical design" would say that having her look (really look) off to the right side would dictate having her head placed to the left in the frame, so she's looking into the empty space. However, this framing creates a lot dynamic tension. The Superbowl commercial won me over and sent me to monster.com website.
Studio
and posed photos: These DO work, and why...
What works: You'll not be disappointed when you attend either concert based on the photographs. Both Bills are wild and crazy guys with a lot of fun and irony in their songs. Obviously, Bill Lauf's photo on the left, taken by John Kane 203-354-7651, is a photo studio affair with great greyscale tones, toplighting on the hair, AND some backlighting to bring out the shape of Bill's head and guitar. The reflection adds to the humor. And check how sharp everything is! (Use a tripod to keep the camera still.)
The mock-seriousness of singer/songwriter Bill Wolford's natural light photograph is appropriate to his material. The hat, glasses, and little goatee are VERY Bill. I would have removed the wall picture on the top right. (Background too busy? Improvise? Stretch an ironed sheet across the background and light appropriate portions with a gooseneck lamp. Be resourceful.) Can you tell I airbrushed several lines of large type off the guitar? Good. Turns out I could have saved time by tracking down Bill on the internet. He would have emailed me a tiff file. This was also scanned from a pre-screened flyer, which gave a moire pattern (looks like a waffle). I had to airbrush out the obvious moire lumps, too. Not everyone will take the time to fix your photos.ALWAYS SEND REAL PHOTOGRAPHS
and/or let the venue know where they can obtain prescanned images.
© Wendy Carlos 1999, photo by Annmarie Franklin, image used with permissionWhat works: (Click on photo to see full size). Electronic music pioneer Wendy Carlos is one of the most meticulous musicians and photographers you'll ever encounter. Want lessons in paying attention to detail? Spend a few DAYS at Wendy's fascinating website. See excellent photos of her music studio, cats, and portraits (most by Vernon L. Smith); and enjoy her commentary about the photos. Don't forget to check out her eclipse photographs, too!
Now, what's so great about this photo, apart from the cherry face? You can tell a lot about her by looking at her surroundings. First, Wendy's a composer, not a concert artist, so her studio is on stage. "Too much clutter in that shot," a friend thought. But not for this shot, for this purpose. For shooting another musician, I'd have opened up the f-stop to f4 or wider to put all that equipment out of focus. You'd get a hint of computers and keyboards. But Wendy IS her work. She always takes great pains to photograph her STUDIO (during all phases of her career), for that is an extension of her.
You can tell she's serious about music from the three keyboards, and a larger view of this shot will let you see her notation system on the sheetmusic and on the large screen -- (a Mac, of course! Don't get her started!). What else is there? Well, there's the little statue growing out of her head (that would be a Grammy Award, now, wouldn't it?). She's a total total eclipse nut, and that's her photo on the wall. The bumper sticker above the eclipse says something about computers. I'm not sure about the stuffed monkey, but it says humor, at the very least. Most obvious are the kitties, who "almost" rule her life. (Add her doggie to reach total pet meltdown.)
A shot this clear took studio lighting. Looks natural, but I'll bet they took hours setting it up. And just how do you get the cooperation of THREE CATS at once?? Great job, Annemarie and Wendy! Read my interview with her.
If you do choose to use studio equipment and props in your shot, choose background carefully -- awards, photos, musical instruments -- to give even select information about your subject. Also look for what to eliminate in the scene: messy electric chords, stray papers, post-it notes, sloppy window drapes, dust on the piano, underwear tossed over the lampshade (a Duke Ellington habit, I hear), and those pesky incriminating roach clips.
What works: This is Albita, one of my favorite pop performers, diva-in-exile from Cuba, now holding court at the Yuca in South Beach Miami. She and her band walked across the border in Texas several years ago, and the Miami Cubans rallied to support her. Gloria Estefen and hubby Emelio signed her to a record contract within a day. Now about the photo...sure picks up Albita's androgenous nature, doesn't it? She's holding a cigar (Cuban, no doubt, but also symbolic of other things), victoriously standing on travel trunk, and is in the shadow of wire fence barricade. Celebration of a great escape. I think she's energetic and outspoken, but the photo is vague on this aspect. Perhaps you'd like to know the photographer? Jeff Dunas, who has photographed portraits of hundreds of famous actors and musicians. Check out the Jeff Dunas website.
The Camilli String Quartet
on the Sugo Music label.What works: Whether shooting photographs for musical theme or featuring an artist shot,
Sugo Music creates wonderful album covers. Go check out their website to see some examples. What's great about this shot? A string quartet can be boring, but these dudes are having a blast. Dress? Not in tuxes or tails. Neat but casual. In reality, these four can't play that close together, but this is show biz PR. Notice how carefully all the hands and bows are placed? You can see everything. Typically, a string quartet photo has everyone looking at each other, peering under eyebrows, chins crunched. The photographer here chose to make the first violin look at the camera, while the others have fun behind him. Bright back and top lighting ensures that all the bodies stand out from the background. With this attention to detail, the photographer was probably instructing them how to angle their instruments for the best reflections and how the cellist and first violin should angel their bows. Should they cross? touch? almost! You may not have all the fancy lighting and equipment, but you can LOOK at what's happening through the lens.
What works: I show this shot just as a reminder that the body can be seen as pure form. This 1934 shot of Hollywood starlet Joan Crawford treats her just like a piece of sculpture. Famous Hollywood portrait photographer George Herrell shows just enough to create an air of sensuous danger and mystery. Look at the lines created by her dress and cape! What guy could resist trying to touch. What to you bet her face is oiled and polished? Brilliant. Check out other samples of his work, including a shot of his studio and lighting arrangement at The Hollywood Photography of George Hurrell website. The site offers several books and a movie showcasing his career.
Image,
image, image
Whether you're an elegant pianist like Robin Spielberg or Suzanne Ciani, a strictly-studio composer like Wendy Carlos or a trash garage band, you have a performance image. It may be the same one as your walking around clothes (many singer/songwriters show up for concerts in whatever), or you may take care to step in to your concert persona. Settling for a casual snapshot is laziness, and you'll do better next time, right? However, sometimes images are consciously created. Even using the best studio, you need to THINK about your image and plan ahead CAREFULLY. A great photographer could cost you thousands of $$ per day, and you'd better have your ACT together for the session. Hair done, outfit(s), polished guitar, props such as sheet music, etc. Here's a cool article, "The Cult of Personality," about how to develop a rock star image/persona.Here's an example of a shot of the dynamic Canadian Celtic group Leahy (all family, in case you didn't know.). Click on image for larger version.
These comments are also under the larger version of this photo.WHAT'S WRONG? First, the good things. The shot has tremendous depth of field. How to get everyone in the shot and in focus? Nice composition. Great job here. The shot definitely says "dynasty." But let's look at "image." What is the image? Who is the group? On stage, the family group is fun and dynamic, full of fire and spraying sweat. Fireworks and frayed violin bows.
Someone CHOSE beforehand to have them all wear black. And what's with the "look"? The heroin-chic. Distain. Oh, so COOL! I'm impressed. (NOT.) The whole point of Leahy isthat they are FAMILY. Shots of movement worked brilliantly to promote Riverdance... so why this? Does heroin-chic REALLY sell? Please, let's get back to reality, like the actual CD cover showing fiddler Donnell Leahy. What a great shot!
The other thing that doesn't work about this group photo is the overuse of black. It would take the scanner a tremendous amount of work to bring out any detail of the clothing. Perhaps the photographer could have used more top lighting or worked on the original print. Or perhaps the photographer didn't care to have details show at all. I tried the best I could and finally gave up. Study in black and white.
Chrisoph Strube is the photographer of the group shot, but he's not the only one responsible for the decisions. Friends, family, marketing directors, and designers could all have a hand in choosing the direction.
The black dress and blank demeanor may come from the Irish's non-expressive step-dance, this shot from Riverdance.Below, Gaelic Storm's photographer, Jim Wright, went OPPOSITE from their usual gig shots. Shooting on a desert salt flats? It worked. The incongruity captured their funloving spirit. One interior shot has two band members sword fishing with frozen tuna. Inside, dozens of tiny photos (snapshots of gigs, toilets, Buddha statues, laundry drying on the line, and performance images) are combined into a montage to show the gritty spirit of touring life. Here, Higher Octave art director "Ph.D." saved the day with ingenuity. Isn't the pint logo fun? Check out the band member photos on the Gaelic Storm website.
Concert
photography & general photography resources
copyright 2000, Carol Wright
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