I've been asked to photograph a band (indie/rock/alternative) in a smallish (1000 capacity) venue, which should hold no problems getting to the front of the (four foot high) stage to cover but has no separate press type zone. The band have requested 'natural' lighting shots from the gig. i.e band members cast in overall blue or yellow etc -no harsh flash shadows. I was hoping someone who has been there before could advise on colour print film choice and metering technique (still having nightmares about metering a multi coloured, irregular flashing background)--nevermind 5 guys not holding still to recognise a human figure amongst the colour. Any help would be gratefully recieved.

-- Simon Way (softlysoftlycatchymonkey@hotmail.com), May 12, 2002

Answers

I assume that since the band requested your photographs, you can get in prior to the show. What you need to do is go in and get the lighting guy to give you all the setups and meter them. Since there's no crowd then, you can meter close up. An incident meter might be helpful. Then you just have to note the exposures for each of the lighting situations and use them.

I usually shoot b/w, but when I do shoot color, I use the Fuji 1600 stuff. Since nothing will be color-balanced for film, it's a crap shoot anyway...

Red Rapper, WordSound at Mariner's Hall, San Francisco,
Copyright 2000 Jeff Spirer

-- Jeff Spirer (jeff@spirer.com), May 12, 2002.

usualy this kind of ligthing allow for slower film speed, but Jeff is a good advice, why not stay with them from the moment they arrive or even before, entrance to the forum is always a good moment, and better if youre with them and not waiting out in the stage.

what equipment are you taking to the concert Simon? I recomend a spot meter, a very sensitive one and negative color film, contrast are on the very high side.

-- r watson (al1231234@hotmail.com), May 12, 2002.

Simon:

I'll 2nd Jeff Spirer's advice to talk to the lighting guy to get an advance look @ the conditions you'll be working under. As to film, I can personally recommend Fuji NPZ & Kodak Supra 800, w/the nod going to NPZ. I've also heard good things about, but have never tried, Fuji Press 800 (which is much cheaper). Obviously, you'll want to use the fastest glass you have: f/1.4 or f/1 & be there! Here's my humble example:

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-- Chris Chen (Wash., DC) (furcafe@NOSPAMcris.com), May 12, 2002.

Thanks for the advice. The incident readings do sound like the way forward. I was planning on just taking my 28mm voigtlander and metering through the M6 to limit the equipment i was carrying but a incident meter will be added.

Thanks again for the advice and the examples.

Simon

-- Simon Way (soflysoftlycatchymonkey@hotmail.com), May 13, 2002.

concert photo article in photo.net.

-- Phil Stiles (stiles@metrocast.net), May 13, 2002.

I suggest that you take a variety of lenses and shoot from various locations in the club (including shooting through the crowd, i.e. showing their silhoettes at the bottom of the frame). While a few establishing shots (view of the entire band) will be appreciated, closeup shots have more impact. Limiting yourself to a 28mm lens could prove to be a big mistake, especially since you will be tilting it up most of the time.

-- Jim Lennon (jim@jmlennon.com), May 13, 2002.

In recent weeks I have had to do some of this same type of shooting. Initially I tried the M6, then the R6.2 and R8 with 35/2 and 90/2. Shooting wide open with Portra 800, very few keepers. Impossible to nail focus on jumping band members with shallow DOF. Finally I switched to my EOS 1V and 70-200/2.8 and that's what works for me.

-- Jay (infinitydt@aol.com), May 13, 2002.

I hate to disagree with people that may do this on a professional level, but my experience (all in small clubs) is that going there early is a good idea only to pick perspective. Unless you're dealing with a pro-level band there just won't be that much pre-show organization. Maybe it's just me but I've never been able to get the band under stage-lighting prior to a show. Sound check is almost always done with the house lights up and half the time no one is around who cares about dimming them while they're setting up. Beside if the club is small enough chances are the lighting will be set once and not changed for the entire show. Better just to think about where you might like to be during the set. Be creative, get them coming on stage, shoot from on top of a table or behind the bar, Hell crawl on stage (with permission) and shoot through the band. You'll want to get a few of the out in front "mixed in with the crowd" shots but you certainly don't want to be out done by some lucky bastard with a P&S standing next to you. I happened to find an unlocked door that led to a balcony in an old theater for a local band I once shot and got some interesting elevated shots that no one else had. As for film I primarily shoot fast (for maximizing depth of field) B&W , lately it's been Ilford Delta 3200. For color, even though this might seem unwise I used to shoot Fuji N?? 1600 slide. It was pretty fast and I really liked the results, though I did bracket, it was expensive and it may be discontinued. I only mention it because I can still get it locally, so maybe you can.

Good Luck, sprouty

-- Stephen Prouty (sprouty115@cox.net), May 13, 2002.

I only shoot B&W and so have no advice on color films, but I do suggest a longer lens, such as an 85mm or 90mm, for better shots of individual musicians. With a 28mm you will have to stand right in front of the stage and tilt your camera way up, giving some weird perspective effects that most people would not like. And the individual musicians will still look very small in the frame, unless you can get right up in their faces.

And a Leica M is not really well-suited to this sort of thing. By the time you have focussed with the rangefinder patch and then recomposed, your subject will have moved out of focus. SLRs work better.

-- Douglas Kinnear (douglas.kinnear@colostate.edu), May 13, 2002.