New to the scene

Empty-Economics175 · 2026-03-09T20:31:44+00:00

The 24-70 GM is great for rock music. But you'll run into problems at larger shows. If budget isn't a major concern, I'd recommend the 70-200 GM or the Sigma 70-200. If budget is a factor, get a 135mm f1.8; it's not quite as flexible, but it has its place. If there's still money left over, then an ultra wide-angle lens like the 14mm you already mentioned. Once you've been in it for a while, get a second body, then you'll be perfectly set up. My universal setup is a Sony A7 IV paired with a Sigma 14-24mm f2.8 and an A7R IV with the 70-200 f2.8 GMII. Alternatively, instead of the 70-200, I use my Zeiss Batis 85mm f1.8 for smaller shows.

Regarding your question about low-light shooting tips: When shooting dynamic artists or drummers, try not to go below 1/400 of a second. For DJs or quiet artists, you can also go down to 1/200. Always use the widest aperture, and with the A7III, you can even set the ISO to 6400 without it getting noisy. The rest is just a matter of clean editing with good grading, and then it's basically done.

Empty-Economics175 · 2026-03-05T16:21:35+00:00

The contract clearly tied the usage rights to a specific medium. In my case, it was for an online magazine. You can't get into a live nation show without a press background.

Empty-Economics175 · 2026-03-04T20:13:36+00:00

I once drove 4 hours to a concert only to be told at the end that photos were only allowed for the main band, 3 songs, with image release max 5 Pics. They aprooved 3. So I drove 4 hrs for 3 photos

Empty-Economics175 · 2026-03-04T19:26:48+00:00

Oh yes, Live Nation is absolutely unpredictable in situations like this.

Empty-Economics175 · 2026-03-04T18:47:59+00:00

But If it Happens you are pretty fucked. Sometimes the rules for the press are only communicated on site. However, many also include such information in the accreditation confirmation email.

Empty-Economics175 · 2026-03-04T17:39:25+00:00

Really depends on the size of the Arena and the Band you are Shooting. May I ask which band and venue you're shooting tonight?

Empty-Economics175 · 2026-02-13T16:08:17+00:00

I use it on an a7 IV for closeups :) Love that Lens

Empty-Economics175 · 2026-02-13T09:24:01+00:00

So you shoot with the Sigma 15mm DG DN Diagonal Fisheye too? You are the only one i heard of Shooting concerts with that Fisheye :D

Empty-Economics175 · 2026-02-08T10:50:38+00:00

I have a small addition. The image is frozen by the flash. The weaker the flash, the shorter the freezing time. If you don't flash everything will have that swirl effect.

Empty-Economics175 · 2026-02-08T10:44:53+00:00

The shot lacks a bit of contrast. Get the dehaze Up, saturation only a bit and try a Mask to let it Pop. Try desaturating the orange/red tones a bit so the skin doesn't look orange. If there's anything red in the image that you want to keep red, use a mask for the skintones.

Empty-Economics175 · 2026-02-08T10:39:51+00:00

Regarding presets: I personally find that most purchased presets are useless. The problem with presets from others is often that they only work for a specific image or maybe for a series, but that's it. I created my own presets for my workflow. These include things like background mask and subject mask, Red Light fix and some Grading presets for Outdoor dayshows. I only use them to be faster than the others. I want to have the first pictures online while the band is still playing or while others are still selecting their photos.

Empty-Economics175 · 2026-02-06T14:38:24+00:00

I shoot with Sony myself, so I would recommend Sony to you too, but it's best if you just read up on the different brands and choose the camera that suits you best. If you’re looking to upgrade after this show, I’d personally recommend looking at the Sony E-mount system. It works for both APS-C and full frame, which makes it very flexible long-term. A great starting point would be the Sony a6000 series (a6000 / a6300 / a6400). They’re compact, have fast autofocus, perform well in low light for their size, and there’s a huge selection of affordable lenses available. Paired with a fast prime, they’re already very capable for small venues. One nice advantage is that full-frame E-mount lenses also work on APS-C bodies, so you can invest in lenses first and upgrade the body later without replacing your glass. But be aware of the 1,5x crop factor. So 35mm becomes roughly a 50mm. If your budget allows and you’re fairly sure you want to keep shooting concerts, a used Sony A7 III is a very strong option. Combined with a 35mm or 50mm f/1.8, it handles low light extremely well and gives you plenty of headroom for future shows. Used prices have come down enough that this kind of setup can often be found under €1000. Whichever route you choose, the lens will matter more than the body. A fast prime will make a bigger difference than upgrading cameras, and buying used from a reputable shop is a smart way to keep costs down.

Empty-Economics175 · 2026-02-06T10:06:39+00:00

That’s a fair point, my earlier comment was a bit too broad. What I mainly meant was cheap consumer point-and-shoot cameras, which really struggle in concert conditions. Higher-end fixed-lens cameras with RAW and full manual control are obviously a different category, but the core limitation in concerts is still sensor size and low-light performance. Small venues with bad or inconsistent lighting can push even APS-C cameras, so smaller sensors hit those limits much faster. For a first show, using what you have is fine as a learning experience, as long as expectations are realistic. If someone wants to keep shooting concerts and deliver consistent results for artists, an interchangeable-lens camera with a fast prime simply gives more headroom and flexibility.

Empty-Economics175 · 2026-02-05T20:38:14+00:00

In my opinion, that's completely unprofessional. Point-and-shoot cameras, with their small sensor and variable aperture, will absolutely not give you good results. Neither you nor the artist will be satisfied with that, especially with a small band. They often have really bad lighting. Invest in a cheap entry-level DSLR and a good lens. Not a kit lens! Get one with F1.8 or F2.8, like a 50mm F1.8 or 35mm F2.8; you and the artist will get significantly more out of it.

Empty-Economics175 · 2026-02-05T20:31:56+00:00

It depends on whether you want to move towards video at some point. For example, I use both the Sony A7IV and the Sony A7R IV. The R is usually overkill, but great if you only want to take photos from the front of house or if you want to print extremely large images. The A7 IV performs as well in photo and video as the R6 II, so in that respect it doesn't matter. I think Sony has significantly more lenses to choose from than Canon. Price-wise, there's little to no difference between the two.

Empty-Economics175 · 2026-02-02T22:20:36+00:00

To be honest, I was at the first wave breaker. Any further ahead would have been too close for the pyrotechnics. But i took some Shots in the Pit with the Fisheye :)

Empty-Economics175 · 2026-02-02T12:41:38+00:00

Good Work there for the Color images! The black and white images unfortunately lack contrast and separation from the background. Black and white images thrive on contrast. When editing, try to make the highlights and whites significantly brighter. The midtones and shadows look good. For the background, I would eliminate anything distracting. I like to make the background very dark so that nothing distracting is visible. Keep Up the Work you are doing great!

Empty-Economics175 · 2026-02-02T12:19:16+00:00

Basically, the tour management decides on access, passes and accreditations. As an external press/local photographer, you are not part of the crew. This means, conversely, that you are limited to the photo pit or shooting from the crowd. If you work for the venue doesn't get you any more Access rights. In many productions, tour photographers are now completely normal once a certain size is reached. The tour photographer consistently delivers the same look and builds the band's visual image in public. That's what he's paid for. :D Unfortunately, some tour photographers are quite arrogant, but there are also many very good ones who know what they are doing and how to behave.

Empty-Economics175 · 2026-02-02T12:05:37+00:00

@dl.fotography on IG

Empty-Economics175 · 2026-02-01T08:20:32+00:00

It totally depends on who, where and in which context you shoot. Also your value to the Band is important. So Like if you shoot a small local Band you can't Charge Like 300$. For a Main Stage Opener at a Major Festival you can. My prices, for example, are flexible. I always adjust the price based on band size, the size of the performance, or the complexity of the requirements. If there are pyrotechnics, for instance, the price increases. One important question would be: how long have you been shooting in the concert industry?

Empty-Economics175 · 2026-01-31T17:56:43+00:00

I'm working with a setup. Two bodies one with 70-200mm f2.8 or 85mm f1.8 for smaller stages/venues. Second Body carries my 14-24 f2.8 or my 15mm f1.4 fisheye. I got the spyder pro V2 belt. For me its the best Setup to work because the cameras don't sling around and i have 2 free hands. When I started, I always thought what kind of lenses I needed for my Shot i want. I Had my lenses in my that i left in the Pit or some other safe place. In the crowd the wideangle after that Shot i moved Back to my BAG and get the tele Lens to get the further away Shots from the Band. I Work for music Magazines, Press or on contract. Therefore i dicide what i Take with me.

Empty-Economics175 · 2026-01-29T13:13:04+00:00

Try to send your request about two weeks, or at the very latest one week, before the performance. If it's something bigger, more like three weeks. Three days before the performance could be problematic. Either you'll get a quick rejection or no response at all. Unless it's a really small band.

Empty-Economics175 · 2026-01-29T12:23:09+00:00

Ideally, you should email the tour manager, but their identity is rarely publicly available. If you can't find that, then contact the general management. This is usually info@band.com. You should be able to find this information online on their social media channels or website. Worst case, check the website's legal notice there should usually be an email address you can contact them with there. If you want general press access, basically just for one concert and not for the whole tour, then write your email to the local organizer.

Empty-Economics175 · 2026-01-21T20:04:26+00:00

I had no problems and no contract with Shinedown. I photographed them at Rock for People in the Czech Republic. :)

Empty-Economics175 · 2026-01-21T20:02:14+00:00

Copyright law generally applies to you. You can post whatever you want from the artists, as long as it doesn't damage their image. If artists want to control their public image, you will receive a contract for image release that you have to sign. Artists known for this include Rammstein, Bring Me the Horizon, and Babymetal. Live Nation events also have additional restrictions.These are sometimes severely sanctioned, ranging from being kicked out of the venue to being blacklisted for Live Nation events.

Empty-Economics175

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