Tricks of the TradeTricks of the Trade
So, you've decided to try concert photography or want to try photographing some of your favorite musicians. Maybe you've already shot some performance photos and have decided to pursue this direction in a more professional manner. This tutorial will explain how to gain access to different types of venues, how to approach performers, what to expect on the job, and how to utilize your images once they are shot.
There are basically three types of venues you will encounter: clubs, concert halls and festivals. Clubs are the easiest to access, i.e. permission to photograph the performer and free entrance. Concert halls and festivals require more advance planning on your part. You may already know club owners in your area that feature live entertainment. The simplest way to shoot in a club is just to take your camera, pay the cover charge and see what you are able to get without contacting anyone in advance. Sometimes it works and sometimes it doesn't. This approach depends mainly on your "people skills". If you are approached by anyone, you have to give the impression that you are there for a reason and are not just anyone with a camera. If you are trying this with a point-and-shoot camera you may not get far, professional equipment is always best. It is best to make all arrangements well ahead of the performance. The day of the show is generally hectic and no one likes surprises or problems so attempting to gain access the day of is not the best approach. Some clubs do not allow cameras or video equipment as standard policy.
Once you get in the club I always suggest introducing yourself to the manager or owner of the club and tell them your intentions. In exchange for permission to shoot I offer them a CD of the images which they can use for promotional purposes. Many clubs have websites and newsletters that are constantly updated with new photos. Newsletters are also good way to keep track of who and what is coming up as they are usually ahead of what is advertised in the local media. This enables one to plan shoots weeks or months in advance.
Another and more professional approach to gaining access is to go through a local paper or trade magazine and ask to work for them as a stringer in exchange for press credentials- a press card and/or letter. A stringer is a person who works for free and only gets paid and/or credit if the paper uses any of the images. Even if a paper has a staff photographer or a stringer that already covers the area you might want to point out that it costs them nothing to try you out. You need to be assertive if you want to pursue this kind of work. If you use this method remember two principles; you are representing someone else, so professional behavior is a must and speed is always a factor in the magazine and newspaper business so you have to be able to deliver the goods quickly.
The best way to send the images shot is to edit them on the computer to adjust levels, resize them to a lower resolution and put them in appropriate folders indicating date and subject. After that is done, email them to the appropriate person. It is best to do all editing and emailing as soon as you return from the event or early the next morning, the sooner the better. If you have a laptop with Internet access you could even do all of this from the venue as soon as you are done shooting.
If you want to try bigger venues such as concert halls and festivals, here are some tips on how to get through the gates. A good established track record can help when it comes to sorting out who gets in and who does not. Credentials are a required necessity. Large venues such as the New Orleans Jazz and Heritage Festival receive hundreds of requests from photographers and writers requesting press passes to the stages. There is limited room in front of each stage so the festival staff have to limit the number of people they give clearance. The sooner you apply the better the chances of being accepted. Your chances are increased further if you are working on behalf of a national magazine or periodical such as USA Today or Rolling Stone as opposed to a local hometown newspaper. Don't be afraid to pitch a concept or story idea to a national publication; the worst thing they can say is no.
After gaining access to a venue, I try to ask permission from the performer if possible. This is especially true when I am in a small club. It is just the polite thing to do. In the case that you are not able to talk to the artist it is best to keep a low profile and not be so much in their face as you could be if you had their permission. It is also a good business practice to offer to send them a CD of the images from the performance at no charge and exchange contact information that will build networking capabilities.
In Gaining Access: Part I you learned how to get in through the front door. The next installment of "Tricks of the Trade" will be part two of Gaining Access and will cover the finer points and more advanced methods for gaining access to performers and venues through the various backdoors.