First paid photography gig, need kit advice!

[James Loudoun]

Hi guys,

I've got my first paid photography gig coming up next month at a venue where I work as a Concert Manager, It will be for a UB40 gig and their promotors saw my work and have allowed me a photography pass for the show.

I haven't got a huge amount of experience with concert photography so I was hoping people could help me regarding my kit, I don't have a huge amount of money so i'd like to make do with my current lenses if possible, just wondering if you guys think my kit will do the job?

I use a Canon 100d with a Canon 50mm 1.8, Canon 18-55mm and a Samyang 10mm 2.8. Is there a specific lens I won't be able to get away without?

I'd appreciate any advice you guys may have!

Thanks!

 

[Alastair]

They like the work you've done, so what did you use for that?

Every time someone has a first gig because someone else has liked the work they've seen, they're always in a 'effing rush to change what they do.. ..

 

[MIKEROPHONICS]

Hire what you need from Lenslocker

 

[shreds]

From what I recall there were a lot of band members in UB40, so trying to get them all in frame might not be the best idea!

I would avoid the wide angle for gig photography personally and go for something medium zoom. Grab detail/faces rather than trying to get everything. Watch out for wires and mikes/mike stands in the way of a good shot too. The fixed lens might be good for low light but potentially too limiting. Are you likely to get a backstage pass too? Might be better light and less pressure. Personally I love using a f2.8 70-200mm zoom but that all depends on the size of the venue and where you will be positioned.

As you know the venue, you will no doubt have a good idea about the lighting in there for concerts, which will be key. The lighting can vary between groups and venues and obviously will be rapidly changing.

Is this a gig that is likely to be 'first three songs then out of the mosh pit' or given your position might you be in there for longer? Are you going to be in front of any crash barrier? Don't forget that all those folk behind haven't paid to see the back of your head, if the venue is 'flat floor'.

Plus, never use flash.......it destroys the ambiance.

I personally wouldn't suggest rushing out and buying/hiring any kit you are not familiar with. You will be operating in the dark and effectively under a deal of pressure, even if it is self imposed!

 

[dan_yell]

What kind of venue is it? This might play a part in the type of kit used. and as shreds says - if you are in the pit, that helps.

I used to do some house photography for a couple of venues and I wasn't flush on kit (but had 2 bodies), but I feel I held my own against the agency shooters, given what I had. I used a 50mm f1.8 (first on a 40d, then a 5d II) and an 85mm f1.8 (on a 350d and then a 40d) - occasionally I rented a 24-70mm f2.8 if I had a bunch of gigs close together. Primes might not be suitable depending on what kind of venue it is - they meant I had to move around more, but I also felt it made me think a bit more about shots. I personally made sure I never cut off the arm of a guitar (axe? long bit?), unless going for a close up for them playing. I think the 18-55mm might struggle in these conditions.

if there is a support act, this would be a good time to practice with the lighting to give you a rough idea of the settings you may want when UB40 arrive (altho sometimes the lights for the support act aren't as good). Maybe look into if there is a specific song or thing that UB40 does on stage that is memorable and be ready to shoot that moment.

My contacts dried up a little so I havnt done any for a while, but I think I did pretty well with the kit I had.

 

[shreds]

Just an addendum.....can you get access to the sound check?

A lot less pressure, more light and everyone is a little more relaxed if things are going right (!)

I often find that sound check photos end up being better than the gig itself, but with careful interspersing of the two, you might find that a proportion of the sound check ones make it into the final cut.

Obviously not the case here, but if you know the band and the lighting engineer, they might even do things for you during or before the sound check that will render you some excellently lit pics.

 

[YoshiK1]

I agree that if they liked your work then why change? Your lens choices would really only change based on the locations that you have access to. Will you be behind the stage whilst they're on it? Would you be down the front of the stage? What's the average distances? Can you think of some of the shots you will get?

EDIT: P.S. do we get to see your work that you've done already as I'm intrigued

 

[pingu666]

um a 17 to 50 2.8 lens or whatever canon do would be alot better than the kit lens surely?

 

[greenoak]

I do a bit of gig work. A lot depends if its just the usual 3 songs and out . I take 2 cameras with me . I use my 70 - 200 2.8 lens most of the time and then on my other body has either my 50mm 1.4 or my 24 - 70 2.8
if you have free access you may have time to swap lenses over, but it is never easy in the dark

A tip if you go portrait shot try and get the feet in shot as well as all the guitar. In makes a much better picture. Might not be a problem with the your 50mm, but I found the 50 prime on my FF was too close which is why I tend to have the 24 - 70 lens as second most of the time.

Its very easy to concentrate of faces and find you cut off bodies.

 

[pwal1]

As already mentioned, sounds like you must have a good idea of what set up to use etc as they have seen and liked your previous images. As you know the venue that your shooting in, I imagine you have a fair idea of what lenses would suit best. Of the lenses you list I would suggest that the 50mm 1.8 would be best for the majority of the shots, if its in the right focal range for the venue. The 10mm would be good for a few different images of the croud etc, but you dont really want to be changing lenses too often in the dark with possibly a limited time to take your images, as also mentioned by greenoak. Therefore if you could stretch to it I would try hiring a second body and lens combination, perhaps a 6d (great low light ability) with either a different size fast prime lens (again depending on wether you need a longer or shorter lens) or a decent fast zoom prefferebly f2.8 to give you a few more options. That way you can easily switch to a different camera/lens combo quickly. If you just wanted just a lens however, then for a prime I would recommend hiring the sigma 35mm 1.4 if a wider focal length is needed, and possibly the sigma 85mm 1.4 or samnyang 85mm 1.4 for longer focal length. Though if you are only having one body then one of canons L zoom lenses may be better to give you more versatility.

Either way well done on getting commisioned to do the shoot and im sure it will go well, good luck