The Three Song Rule (First 3 songs, no flash)

You might have heard of the three song rule - "First three songs, no flash!"

But what does this rule really mean? Where did it originate, and how can you, as a concert photographer, make the most of your time in the photo pit while ensuring a smooth experience for everyone involved?

Background

The exact origins of the “Three Songs Rule” are a bit unclear, but it probably has its roots in the 1980s, particularly with bands performing in New York, with Bruce Springsteen often credited as a catalyst for its creation.

In those days, especially at large venues like Madison Square Garden, photo passes were given out liberally, often to paparazzi photographers who didn’t necessarily know how to shoot concerts properly. Many relied on flashes to capture their shots, and some were more interested in the thrill of being at the concert than in their photographic skills. With film cameras, they were limited to just 36 shots per roll, and many didn’t even know how to change film mid-concert.

When Bruce Springsteen took the stage, he was often met with a barrage of flashes from up to 60 photographers. The overwhelming light was not only disruptive but blinding, and Springsteen famously walked off stage one night, insisting that something had to change.

To address the issue, someone proposed a solution: limit photographers to the first fifteen minutes of the show. With most rock songs averaging around five minutes, this quickly became the “First three songs, no flash!” rule. It provided a manageable window for photographers to capture their shots while allowing the performance to continue uninterrupted afterward.

This era coincided with the rise of MTV (originally an initialism of Music Television) and artists became increasingly image-conscious. They wanted to control even more how they were portrayed, ensuring they looked polished and perfect - much like how they appeared in their music videos. The Three Song Rule not only reduced disruption during the show but also helped artists maintain a certain level of control over their public image during live performances.

Today, the rule has become an industry standard, shaping concert photography for decades.

Guidelines

While the rule sounds straightforward, the reality is that every venue and every concert is different, and there are exceptions and modifications to these guidelines.

So when you go to a venue and pick up your passes they will probably tell you right then about the rules. If they don’t and you haven’t heard otherwise, I would just assume “1st 3, flash free”.

Your job as a photographer is important, but it doesn’t make the show go on!
As a photographer, you're always in the way of the performance - whether it's for the band, the audience, or the crew. No one is ever in your way (except maybe another photographer), so the key is to stay professional and adaptable.

• Know the rules

When you pick up your photo pass, the staff may inform you of specific rules for the night. If they don't, assume it’s the standard "first three songs, no flash." Don’t wait to be told, and certainly don’t assume otherwise unless you’ve been informed of a special arrangement.

• Stay professional

It's tempting to think you’re the star when you're in the pit, but remember, you're there to do a job. Be mindful of the other photographers and the crew. The pit can get crowded, and it's easy to step on toes (sometimes literally). If you find yourself fighting for space, be polite, and don’t let ego get in the way. This is especially important because you’re all working within the same limited time window.

• Stage pit issues

You’ll run into common problems, like limited space, challenging lighting, and restrictions on movement. Keep calm and work around these obstacles. It’s part of the job!

• Be respectful

Always respect the crew, the artists, and your fellow photographers. You’re there to capture the performance, not to be part of the spectacle.

• Mind the time

When the third song ends, get out of the pit quickly and without causing disruption. Your time is up, and the show continues for everyone else.

Conclusion

By staying professional, respecting the rules, and being prepared for the inevitable challenges that come with concert photography, you'll not only get the shots you need but also ensure you're welcomed back for future gigs. Remember, each venue is different, and while the rules are a good guideline, flexibility and professionalism will carry you far in this field.

Check out the following photography informations too

• ➡️ 10 Basic music photography tips - Concert photography 101

• ➡️ Metering & Exposure - Concert photography 101 - Part 1

• ➡️ Metering & Exposure - Concert photography 101 - Part 2

• ➡️ The great stage pit etiquette guide for music photographers

• ➡️ Best earplugs for concerts, festivals, sporting & other loud events

• ➡️ BIG security risk - Photo passes on social media

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “The Three Song Rule (First 3 songs, no flash)”.

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10 Basic music photography tips - Concert photography 101

New to the world of live music photography?

Here are ten essential concert photography tips every new live music shooter should know, whether you're shooting from the crowd or just scored your first photo pass.

Think of this as a follow-up to the completely non-technical post, “6 Tips Every New Music Photographer Should Know” – but if you are new to music photography, be sure to check out that post as well.

Here are 10 simple, tips anyone can use for live music photography - but don't worry, they're all simple and no fancy photo equipment required.

1) RAW

Shooting in RAW provides the greatest flexibility and the highest image quality. With the cost of flash memory and hard drive space so affordable, there's little reason not to shoot in RAW. If you're more comfortable with JPG, consider shooting in RAW + JPG to ensure you're fully prepared for both immediate use and future needs, maximizing the quality of your images.

2) Auto White Balance (AWB)

People often ask what white balance (WB) should be set, but there is no specific Kelvin temperature - if you use the automatic white balance, this is always a good choice. For most indoor shows, auto WB generally gets you in the right range, with the occasional exception of very powerful mono-color LED lighting or mixed light sources. If you're shooting in RAW, you can easily adjust the color temperature later with minimal impact on image quality.

3) ISO

Don’t be afraid to crank the ISO!
While higher ISO can introduce noise, a sharp, grainy image is far better than a blurry, noiseless one. If noise is your biggest concern, it means you’ve done everything else right. With early digital cameras, noise was very pronounced even at low ISO values. But the noise produced by most modern cameras at high ISOs values is absolutely acceptable.

4) Autofocus

Contrast is everything with accurate autofocus. In low light, autofocus errors often arise from competition with higher contrast objects, like lights behind your subject or nearby objects like microphones. AF sensors can lock onto these false targets because they’re larger than indicated in the viewfinder. To avoid this, Giving potential competition a wide berth or changing your angle slightly to give the clearest view to your intended point of focus. For precise focus, target high contrast areas. This might mean autofocusing on a pattern on a subject's shirt instead of their face, or a sharp shadow on their ear instead of the eyes. Make sure they as close to the same distance away from the lens as your intended point of focus. This will improve focus accuracy and give better results.

5) Shutter speeds

Shutter speed dictates how motion appears in your photos. The more active and energetic the artist, the faster your shutter speed will need to be in order to freeze the action. Try to maintain a shutter speed of 1/200 or faster. Anything slower can start producing blurred images. Of course there will be some exceptions to the rule. For very dynamic and high-energy artists, the shutter speed should be as fast as possible. A calmer singer/songwriter sitting still, you can go slower, like 1/80. However, the deliberate use of slow shutter speeds and the resulting motion blur can also be used to create very dynamic images of moving subjects.

6) Aperture

Concerts usually have a quite poor lighting situation, especially in small venues, so it is crucial to set your aperture to the smallest number on your lens e.g. f1.8 or f2.8 (which reflects a big aperture). This allows the most possible light to enter the camera sensor. The best prime lenses generally have an aperture of f1.2, f1.4 or f1.8 whereas good zoom lenses usually have an aperture of f/2.8 and is therefore work great in low light concert photography. That's why it's important to invest in fast lenses when you first start in concert photography. For beginners on a budget, a 50mm f1.8 is always a no-brainer, and is not only a great lens for concert photography, but also perfect for portrait photography.

7) Burst mode

Set your camera to multi-shot (burst) mode. This allows you to rapidly shoot at least three, four or five frames per second (fps) in a row. Modern cameras can also take 10 fps, 11 fps or much more. This increases your chances of getting at least one razor-sharp photo out of several, especially with fast-moving subjects. While not essential, this setting can be a big help, especially when starting out in concert photography.

8) Manual Mode

Apart from strobes and other very short duration lighting effects, most concert lighting stays fairly consistent. Shooting in manual mode allows you to maintain full control of the light around you and helping you to achieve consistent, repeatable results. Sudden changes of bright and low light can easily throw a camera off course and lead to incorrect exposures. Light meters can be misleading and are rarely accurate for every scene or situation. This is especially true in concert photography, where unpredictable lighting makes it even more important to trust your instincts and experience.

9) Flash

In general, you are not allowed to use a flash when shooting concerts. For good reason!
Imagine what it's like when several photographers burst their flashes almost simultaneously - this can be very distracting and quite annoying for the artist on stage. This is probably one of the reasons why there is a “NO FLASH” rule in the stage pits. I always recommend learning to work with the available light, as it’s a key skill in concert photography. And while I don't generally recommend the use of flash in most cases, it's worth experimenting with it to see what results you can achieve if the artist is okay with it. In small, low-light venues, flash can be a game-changer - for example in capturing high-energy jumps with incredible clarity.

For more background informations about ➡️➡️➡️ “The Three Song Rule (First 3 songs, no flash)”!

10) Earplugs

This is the one equipment recommendation I’m going to make - it’s not optional, it’s a must!

Forget everyhting about better photo equipment if your ears are overwhelmed by eardrum-crushing decibels. I highly recommend earplugs for new shooters! Most earplugs are affordable, comfortable, and offer solid noise reduction.

When I was young, I thought it was cool to be at clubs and concerts without earplugs, enjoying the loud music in front of the speakers. Seeing security with foam earplugs seemed uncool, and though my ears would ring after every show, I figured it was just part of Rock n' Roll. I was wrong!

I learned about hearing damage when I found out musicians like Neil Young and Bono suffer from tinnitus - a constant ringing caused by loud music. Spending just 30 minutes in a noisy club can harm your hearing, and rock concerts are even worse.

So don't be an idiot and protect your ears!

For your safety: ➡️➡️➡️ Read my review of these extremely effective plugs!

Conclusion

Now you have it - my 10 essential tips that most pros follow every time they're in the stage pit, but which might not be obvious to new music photographers. Even better is that you can apply these tips regardless of the photographic equipment you use. Whether you're using a point-and-shoot camera or a high-end DSLR/mirrorless.

Check out the following photography informations too

• ➡️ Metering & Exposure - Concert photography 101 - Part 1

• ➡️ Metering & Exposure - Concert photography 101 - Part 2

• ➡️ The great stage pit etiquette guide for music photographers

• ➡️ Best earplugs for concerts, festivals, sporting & other loud events

• ➡️ BIG security risk - Photo passes on social media

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “10 basic music photography tips - Concert photography 101”.

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If you like my work or the free stuff and want to say thank you, please use this opportunity now and

THANK YOU, very much! 🙏🏻

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The great stage pit etiquette guide for music photographers

In the past, I've written about the stage pit etiquette, focusing on general courtesies in music photography. These include considerations like maintaining proximity with fellow photographers, handling your gear, and moving with minimal disruption. However, the scope of concert photography etiquette extends far beyond these unspoken norms.

Moving beyond the practical tips I've shared, let's dive into some deeper aspects of stage pit (NOT “photo pit”) behavior that every music photographer should be aware of. I'm talking about the biases, and instances of disrespect that can pop up based on factors like gender, race, appearance, or even the photo gear you're lugging around. These things aren't limited to just music photography - sometimes in the stage pit, it's kinda like a mini version of the whole wide society out there.

R-E-S-P-E-C-T

So, here's the deal: We, as music photographers, need to step up our game. Let's make it a goal to constantly improve our behavior and actions. Well, it kicks off with one simple thing – respect for all your fellow photographers.

Equality

When you enter the stage pit, judgments and biases should be left outside. Upon entering the stage pit, remember, everyone has equal rights to be there and perform their work. Every individual sporting a photo pass is subject to the same rules and enjoys the same access.

The camera gear, age, attire, or any other factor should hold absolutely no weight. When the show is done, it's solely the quality of the images that carries significance. That's the true measure of our work, no question about it.

Awkwardness

It might sound obvious, but let's be absolutely clear - there's no room for weird behavior in the stage pit. Photographers are there to do their job and capture great images. That's the sole focus. Nobody's looking for a date in the stage pit or wants to talk about politics, religion, etc..

Behavior

Regardless of your client, whether it's a renowned publication like The Rolling Stone or even just a very famous artist, it's crucial to recognize that your images aren't inherently more valuable than anyone else's. Gatekeepers have diligently reviewed and approved photographers across the board, from well-established daily newspapers to prestigious national and international magazines to up-and-coming blogs.

In essence, if you're not granted special access, it's because you're on the same footing as everyone else. Special access is reserved for those who genuinely hold a distinct status or role. If you were truly very special, you'd get special access pass, like "Access all areas". If you're sporting the same pass as your fellow photographers, your entitlement is no greater and no lesser than every other photographer.

“Hello… !”

It's a simple gesture, but saying "Hello!" to a fellow photographer in the stage pit you've never met before can have a significant impact. Why? Well, despite photographers often being seen as lone wolves, this is how you can begin building a sense of community and fostering camaraderie.

Moreover, connecting with other photographers can shift your perspective. Engaging in a simple chat can help dispel the notion that they're your hostile competitors. It might seem like a small change, but this can do wonders for your mental well-being.

If you spot someone new, strike up a conversation. Ask them if they've shot in that venue before or if they've seen the band perform. If you're a regular at the venue or familiar with everyone else, make an effort to talk to the unfamiliar face. And if you're the newcomer, approach someone who seems well-acquainted with others. You don't have to become best buddies with everyone in the stage pit – but why choose enmity?

Photo gear

The camera gear you bring should never dictate how you're treated in the stage pit. The way you behave and show respect to others should remain entirely separate from the cameras or lenses you use. Let's ensure that any form of prejudice, homophobia, sexism or racism disappears at the very latest when you pick up your photo pass.

We're all aware that high-end camera gear can make the job more convenient, but it doesn't automatically elevate your status and your skills as a photographer. Your true talent is demonstrated solely through the quality of your photos, not by the size of your lens.

Mansplaining

Here's a straightforward request: Men, let's put an end to doling out unsolicited photography advice to women or anyone, really. Instead of appearing helpful, it often comes across as condescending.

When it comes to evaluating a photographer's skill, there's only one thing to look at - their images. Nothing else can truly speak to their level of expertise. Not their gender, height, race, personal relationships, age, faith, or appearance. Not their publications or whether they're getting paid. Even the gear they use is beside the point.

Speak up for others

If you see any of the objectionable behavior above, raise your voice. Whether it's from another photographer or a security guard speak up - because all should also know better.

When you see another photographer hassling a fellow photographer, speak up. If you notice security unfairly targeting women in the stage pit, don't hesitate to voice your objections.

Never condone disrespect or abuse when it's in your sight!
Take a stand for those who might struggle to raise their voices or perhaps too fragile to do so. This action becomes particularly significant if you're familiar with the person responsible.

Again, respect!

It's worth emphasizing - respect is the golden rule in the stage pit. Every action within that pit should be grounded in respect. Respect for your fellow photographers, respect for the artists gracing the stage, respect for the fans, and respect for all the individuals laboring to make the event happen. There are no exemptions to this principle!

Conclusion

If you're a music photographer, you're likely aware that many aspects of etiquette ultimately boil down to one core principle: RESPECT!
These aren't just practices exclusive to music photographers; they extend far beyond the confines of the stage pit.

The world of music photography is a community that we all collectively shape. In this community, ignorance and prejudice have no place. Concert photography etiquette is the linchpin that enables us to do out jobs effectively and with fun.

I implore all music photographers not only to envision the kind of community they wish to be part of but also to actively confront any wrongdoing they encounter. It could be as "minor" as someone belittling another photographer for their gear, questioning their credentials or because they are a woman. However, music photography community can only get stronger, when we establish an inclusive space, where everyone has the opportunity to thrive.

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “The great stage pit etiquette guide for music photographers”.

More knowledge

If you haven't had a chance to read it yet, I encourage you to explore my article titled "101 stage pit etiquette for music photographers". It offers a wealth of additional tips and guidance on navigating the practical behavior in stage pits, especially when you are working in a big crowd of photographers.

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Best earplugs for concerts, festivals, sporting & other loud events

If you're searching for the best earplugs for loud events, I’ve got you covered.

As a professional music photographer, I work around loud music constantly and have tried everything from cheap foam earplugs to custom-molded ones costing hundreds.

This article breaks down my top earplug recommendations based on the level of noise protection, comfort, and ease of use.

How is sound measured?

Sound is measured with decibels, also written as “dB”. The decibel scale ranges from 0 dB to 300 dB. Zero represents absolute silence, whereas three hundred represents the loudest sound in the world.

Loudest sounds in the world

Some of the loudest sounds in the world include a AC/DC concert (135 dB), gunfire (155 dB), NHRA Dragsters (160 dB), Space Shuttle lunch (165-170 dB) a 1-ton TNT bomb (210 dB) and a 5.0 Earthquake (235 dB). The loudest sound ever recorded was the Tunguska Meteor at 300-315 dB.

Why wear hearing protection?

The threshold for physical pain from loud noises is 120 dB. Hearing loss can happen from extended exposure to nearly any noise, but anything over 100 dB can cause damage within minutes.

How loud is too loud?

The safe statutory limit for noise exposure is 80 decibels (dB). Regular exposure to noise above this level can lead to irreversible hearing damage. At concerts, noise levels can reach up to 120 dB, which is very harmful.

Signs of Hearing Loss

There are many signs that humans show when their hearing begins to deteriorate. These signs included ear pain, ear itching, muffled hearing, pus leaking from the ear, tinnitus, as well as having a difficult time hearing what people say.

The question is, which earplugs will work best for you as a concert photographer?

With so many options on the market, ranging from $5 to $500, it can be hard to choose the right pair. After testing various earplugs, here are my top recommendations - let’s dive into my top picks in more detail:

Eargasm - High Fidelity

The Eargasms are my top pick for advanced earplugs. They come in two sizes and are the only triple-flange silicone earplugs that fit every ear canal perfectly. With a noise reduction rating of -21 dB, they offer some of the best protection in this price range. Plus, they come with a sleek aluminum case to keep your earplugs safe.

Alpine - MusicSafe Pro

I’ve used the Alpine Music Pros for years, and they’ve been incredibly reliable. They're unique in offering three interchangeable filter sets for low, medium, and high protection, with the high-protection filter being my go-to. The double silicone flange provides a great fit and long-lasting comfort (for example on concert tournaments). Offering sound protection between -16 to -18 dB, they come in one size and include a handy plastic storage box. If you’re ready to invest in top-quality earplugs, the Alpine Music Safe Pros are a winner—they even won the Red Dot Award 2015.

Etymotic - ER20 ETY & ER20SX

For concerts that last around 1-3 hours, I recommend using “musician’s earplugs” such as the Earaser, Etymotic ER20XS, or Eargasm High Fidelity Earplugs. These models are specifically designed to let you enjoy the music at safer levels, while maintaining sound clarity and avoiding the muffled distortion that comes with traditional hearing protection. They’re easy to insert and remove, which is perfect for taking them out between sets when chatting with friends, unlike foam options. Plus, they’re reusable, making them a great value for regular concert-goers.

Etymotic ER20 ETY

Etymotic ER20SX

Etymotic - ER125-MPE

The Etymotic Music Pro Elite Rechargeable Active Hearing Protection is a cutting-edge solution for musicians who want to hear naturally while protecting their hearing. It uses active technology to constantly evaluate incoming sound and offers two modes of operation. In Low Mode, it provides transparent audio for sounds under 90 dB, while offering 15 dB of attenuation when sound exceeds 90 dB, reducing only the loudest sounds without distorting the rest. In High Mode, it delivers a 6 dB audio boost for sounds below 90 dB and 9 dB of attenuation for louder sounds, ensuring precise protection. The earbuds offer an impressive 16-20 hours of use per charge, with the case providing 15+ additional charges.

The overall sound experience was superb and natural and the different filter tips which are delivered with the earplugs, will ensure you’ll find the right fit for you. The drawback of the Music Pro is the amount of work you have to go through to enjoy their benefits.

HEAROS - Ultimate Softness

If you want to truly enjoy the music at a concert or festival and are standing some distance from the big speakers, or only exposed to high volumes for a short period, I recommend the musician's earplugs mentioned above. They offer excellent sound clarity while protecting your ears from harmful noise levels.

But if you're spending really long periods of time near the stage, especially near the speakers, I'd recommend foam options like the Hearos Ultimate Softness Series. These have 32dB noise reduction and offer better long-term comfort compared to other options like the Eargasm High Fidelity, Alpine MusicSafe Pro and the Etymotic. The added protection makes a big difference, especially at multi-day festivals where loud music can be heard for extended periods of time.

Summary

Most people would benefit from a pair of Etymotic ER20 ETY & ER20SX for almost any occasion, or the Hearos Ultimate Softness Series earplugs when maximum noise protection is needed. If you're a musician or professional music photographer around loud music regularly, it's worth investing in Eargasm High Fidelity or Alpine MusicSafe Pro.

However, it's best to invest in custom earplugs, even at a price of $200 or more.

Shopping List of the products I’ve mentioned

• Eargasm High Fidelity

• Alpine MusicSafe Pro

• Etymotic ER20 ETY

• Etymotic ER20SX

• Etymotic ER125-MPE

• HEAROS Ultimate Softness

All available on Amazon. If you click through and make a purchase, I may earn a small commission at no additional cost to you. I only recommend products that I personally use and believe in!

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “Best earplugs for concerts, festivals, sporting & other loud events”.

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Metering & Exposure - Concert photography 101 - Part 2

In the first part of this series, I covered my basic four-step approach to determining exposure and also mentioned that I don't rely on in-camera light meters.

My four-step method is an excellent foundation for determining exposure in concert lighting. With practice, you can achieve accurate exposure even as light levels shift, without needing constant review and adjustment. Once you've mastered setting a baseline exposure, as explained in the previous article, you're ready to take your skills to the next level.

In this second installment, I'll share some other techniques that I use in addition to this feedback method.

These three approaches to metering and exposure for concert photography are designed to boost efficiency. With three-song limits becoming the norm, the more time you spend looking through the viewfinder rather than at the LCD, the better.

Please notice:

In addition, dealing with the least number of variables possible will help you with the next technique: memorization.

Facilitate

When I shoot, I strive to keep my exposure settings consistent across different lighting setups. More options don’t always lead to better decisions, and simplifying my approach allows me to focus on the shot itself rather than unnecessary adjustments. The fewer settings you need to adjust, the faster and more efficiently you can work.

By minimizing the amount of information you need to manage and narrowing your options, you achieve a level of simplicity while still retaining the flexibility of manual control.

Memorize

Just as music follows patterns, the design of concert lighting does as well. A lighting technician often revisits the same lighting scheme multiple times throughout a set, sometimes even several times within a single song.

One effective technique for improving your metering workflow in the stage pit is to develop the habit of memorizing the exposure settings.

As lighting settings repeat, having already memorized the exposure for a specific scheme will save you time and allow you to focus on capturing awesome photos rather than getting bogged down by a bunch camera settings.

Anticipate

Believe it or not, your eyes and brain can serve as highly capable and responsive judges of ambient light. Training them can significantly enhance your ability to achieve more accurate and consistent light metering.

In fact, the first step to internalizing light levels is something you’re likely already practicing in the stage pit and even before the show begins: Guessing!
The estimated of the lamount of light is already part of your feedback loop - so make it count and enhance your skills in making those estimations more and more accurate.

Final note

The goal of using these techniques is to reduce the steps between envisioning the shot and capturing it and allowing you to achieve optimal exposure with minimal effort - in a nutshell, this enables you to work as efficiently as possible. By combining all these tricks, you'll be able to adjust exposure on the fly and keeping the post-processing workload to a smal level.

Also check out

• ➡️ Metering & Exposure - Concert photography 101 - Part 1

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “Metering & Exposure - Concert photography 101 - Part 2”.

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Metering & Exposure - Concert photography 101 - Part 1

Capturing the perfect exposure in concert photography is one of the biggest challenges, whether you're a novice or an experienced pro.

From the dim, moody lighting of intimate club gigs to the intense, blinding lights of arena shows - navigating these extremes requires skill and precision. However, finding the right exposure isn’t as difficult as it might seem.

Here’s my guide to determining the best exposure settings for concert photography

The following is my standard process for setting exposure, which I always perform in manual mode at the beginning of a set.

1.) Take a test shot

For this test frame, I'll estimate the exposure based on the venue's lighting conditions. Typically, I set the aperture around f/2.8 or f/3.2 and a shutter speed of 1/160, with ISO ranging between 1600 and 6400.

2.) Check histogram & image

That's right, chimp it up. In reviewing the above test frame, I'll look at both the histogram and overall rendition of the image. With the latter, it's important to use a camera with a fairly accurate LCD, otherwise one can be misled. I'll also review the areas of blown highlights to ensure that important details are intact in the subject.Of the four steps, this is both the most difficult and the most important. The good thing is, if you blow it, you've always got another shot.

3.) Refine & retry

Is the photo too bright or too dark? Return to step one and make adjustments as needed. Tweak the ISO, shutter speed, or aperture - whatever it takes. Once you've perfected it, move on to the final step.

4.) Set it up, relaxe

Once you've found the ideal exposure for the current lighting, use those settings as your reference and focus on capturing photos - there's no need to overthink the technical details anymore. From this point, it's best to adjust only one setting as needed. I primarily focus on adjusting the shutter speed, even during performances, unless the conditions have changed drastically.

If the lighting conditions change - they inevitably will - and you still feel uncertain about your settings, simply return to the first step and repeat the process from the beginning.

Please notice:

I didn't talk about the different in-camera exposure methods or any automatic mode for a reason.

Any experienced photographer will tell you that light meters can be unreliable; they are rarely 100% accurate for any scene or situation. Because the camera can never truly know which part of the composition is most important or where the exposure needs to be prioritized. This is especially true for concert photography, where lighting can be particularly difficult.

Final note

This four-step system offers a strong foundation for finding the correct exposure settings, even in challenging conditions like intense strobes, powerful spotlights and rapid shifts in the overall lighting design. In these cases, it's crucial to adjust the shutter speed very quickly to stay in sync with the changing light. However, with enough practice and experience, this will become second nature and shouldn’t be an issue.

In the next installment of this two-part series, I will delve deeper into the additional techniques that I use alongside this routine to ensure optimal exposure while photographing a concert.

Also check out

➡️ Metering & Exposure - Concert photography 101 - Part 2

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “Metering & Exposure - Concert photography 101 - Part 1”.

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If you like my work or the free stuff and want to say thank you, please use this opportunity now and

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BIG security risk - Photo passes on social media

Social media has an undeniable impact on our world and of course that includes the music industry, including the niche of concert photographies. As photographers in this field, we deal with visual media that ranges from showcasing our work to providing insights into our lives.

For emerging music photographers and individuals involved in live events may be excited to receive credentials. Whether it's a coveted photo pass, a tour laminate, or a festival credential, the inclination to share images of these achievements on social media is entirely natural. However, here's why you shouldn't.

Security measure

Passes serve as a vital security measure, designed to guarantee that only authorized individuals gain access to restricted areas. These include not only sensitive locations such as backstage areas, dressing rooms, rest areas, technical areas, parking for nightliners and trucks or the catering, but the events as a whole as well.

The passes are primarily important for the organizers of the event and the security. Because they are a fundamental part of ensuring the safety of the event staff and visitors.

Forged passes

The critical reason for refraining from posting photos of photo passes, tour laminates, and other event credentials is the ongoing issue of people attempting to counterfeit these items in order to gain unauthorized access to events.

A noteworthy incident from 2021 involved a TikToker who garnered attention for fabricating a pass for a Kanye Donda event. On camera, he boasted about securing a better view of the show than even Kanye's own family. This individual had discovered a social media post displaying the passes. He built a rough facsimile and made his way through the security easily.

There are special forums on Reddit communities dedicated only to the art of pass forgery and admission tickets. Additionally, there is a group of wannabe influencers who engage in pass counterfeiting as a means to attend concerts and other events -only to get attention in the social media.

More complications

Nearly every photographer has encountered situations where they received one set of instructions from an authority figure of the event organizer only for security to have conflicting interpretations. Then, despite previously clearly communicated and established rules, misunderstandings can arise. Access restrictions, limited time quotas and more are then the result.

Counterfeiting passes adds an additional layer of complexity and challenge for everyone involved. Whenever there is a perceived security risk, security measures are intensified, leading to increased scrutiny of all individuals. Publicly sharing images of photo passes on social media compounds this problem by amplifying the need for heightened security measures.

Security

Credentials play a vital role in facilitating access to secure areas, and it's imperative that only authorized individuals occupy these spaces. I'd rather not get into the most extreme possible consequences of publishing credentials on the Internet.

I implore you, let's prioritize the safety. Let's ensure the well-being of our peers, the fans, and the artists.

Therefore, please refrain from sharing photos of your event credentials online. This includes not just your photo passes but also your tour laminates, festival badges and also your ID.

Timing

When is it appropriate to share photos of passes? The safest timing would be once the tour has concluded. Credentials are routinely changed from one tour year to the next, precisely to enhance safety. After one tour concludes, the subsequent tour featuring the same artist will introduce entirely new sets of credentials with distinct appearances.

If you still decide to post a pass online, I strongly advise waiting until the tour or festival has wrapped up.

How to

If you wish to share images from your work while using a photo pass, it's advisable not to show it. Ideally, remove it and stow it in your pocket or somewhere discreet. Always make sure that the pass isn't easily recognizable.

For BTS photos, you can get creative by adding GIFs, stickers, or emojis over the photo pass to mask it. Basically, any method of hiding the pass is better than showing.

Conclusion

• Passes serve as a security measure

• There are individuals actively attempting to counterfeit passes

• Counterfeit passes pose a substantial security risk

• Fake passes and unauthorized entry attempts create difficulties for everyone

• Don't show your pass around swankily, when you're out in public

• If you do decide to post passes, then never during an ongoing tour or event

• Conceal passes within photos or cover them before posting

If you are new to music photography, welcome. Please share your photos - just not your photo passes!

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “BIG security risk - Photo passes on social media”.

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Stage pit etiquette and tips for concert photographers

The stage pit, as any music photographer knows, can often be a very busy, narrow and crowded space. Whether you're squeezed into a tight stage pit in a club or amidst a sea of fellow photographers in a sprawling festival pit, the competition for limited shooting space and optimal angles can be fierce.

In such a setting, a dash of courtesy can work wonders and possessing a firm grasp of the proper etiquette can significantly enhance the experience of capturing concert moments as a music photographer.

This guidance is relevant to music photographers of all levels, serving as a valuable refresher for veteran professionals and an essential guide for those new to the world of music photography. By embracing these etiquette principles, you can move and perform in the stage pit with the professionalism of an experienced pro.

101 stage pit etiquette for music photographers

Respect

The number one rule!

Every action you take in the pit should emanate from a core foundation of respect. It's respect for your fellow photographers, respect for the artists gracing the stage, respect for the passionate fans, and above all, respect for every individual diligently contributing to the success of the event. In this realm, there are no allowances for exceptions!

All fellow photographers with a photo pass possesses the same rights to access the pit and capture their shots, without exception. We share a common goal – to capture extraordinary images. By entering the stage pit with respect at the forefront of your mindset, we can collectively enhance our chances of creating remarkable photographs without any unnecessary drama or conflict.

Outfit

This tip serves as both a courtesy to the artists and a consideration for the fans: Opt for black outfits!

As a photographer, you hold a unique and privileged position at the forefront of the stage. You're often very close to the artists and quite literally stand between the performers and their devoted fans. The choice to wear black it a deliberate step toward minimizing the presence and distractions. Embracing black attire is an integral facet of maintaining a professional appearance as a music photographer.

Pit access

My advice is to go early to the show rather than be late and fight your way through the crowds when the concert venue/festival area is fully packed. Sometimes the photographers are escorted via a side entrance or the backstage area in front of the stage, directly into the pit. There will be a meeting point somewhere, which will usually be announced to you by the people who are also responsible for your accreditation or you will find out from the staff at the entrance. Unfortunately, you don't get into this comfortable position very often as a usual music photographer. Often there is only one solution - to torture yourself through the crowd. This is not always a pleasure, but most of the time there is no other way to get to the front of the stage and into the pit.

When moving through crowds move slowly and plan you path. Avoid moving through areas where there’s much dancing, hopping, head banging going on. Let people know you are there by gently touching them on their shoulder. Be friendly and apologize if you step onto someone’s feet. Never push people aside but wait for gaps to slip through. Carry your camera gear above your head or visibly in front of you. Beware of burning cigarettes, beer cups, blood or vomit.

On the way to the stage or exit, many venues can be quite dark. A proven solution for this scenario is a Mini-Maglite. With this small flashlight you can literally “light the way”. Please avoid to dazzling anyone. The Maglite should be used primarily as a visual aid.

Gear

Exercise vigilance when it comes to your camera equipment and gear while in the bustling stage pit. Understand that it's an environment where equipment can endure some rough handling. Little accident can occur. If you inadvertently bump into someone and their gear, extend a quick apology and continue shooting.
To reduce the likelihood of such incidents, consider keeping your camera straps short, and if you're working with two camera bodies, ensure your second body and lens are snugly secured closer to your torso. Similarly, when navigating through the stage pit, carry your cameras close to your body to minimize the chances of accidental collisions.

3SNF

Flash photography is typically prohibited at most concerts. The standard rule in most venues is “First three songs, no flash!” (3SNF). So an off camera flash has absolutely no place in the pits.

Even if you have it mounted the flash but don't intend to use it, it's probable that you get hassled by security. Besides, having a flash in the stage pit adds an unnecessary obstruction for fellow photographers, hindering their ability to capture shots effectively.
For ensuring a smoother and unobstructed shooting experience for all, please stow away your off-camera flash, while your are in the stage pit.

Backpack

Here's a significant consideration. In a densely packed stage pit, avoid wearing a photo backpack at all costs. Trust me - everyone in that pit will thank you for it! But if you do, I can guarantee that everyone else in the pit will hate you. Stage pits are often already cramped, and having a backpack on significantly hinders movement for everyone, including yourself. It's advisable to stow your backpack at the sides or under the scaffolding of the stage. As a general rule, avoid putting your backpack in any place where it may of being in someone's way.

If you require quick access to lenses while shooting, opt for a belt with lens pouches or, at the very least, a messenger-style bag that can be worn on your side or front. This way, you can minimize your footprint in the stage pit while ensuring you have the gear you need at your fingertips.

Oneself noticeable

A small gesture of courtesy can have a significant impact. When you need to move past another photographer in the pit, a simple tap on the shoulder is all it takes. This allows them a moment to acknowledge your presence and make way for you, rather than you simply pushing through. This thoughtful approach can transform the stage pit into a more civil and cooperative space, and your fellow photographers will undoubtedly appreciate your consideration for both your own space and theirs.

Work, not dance

This guideline is quite straightforward. When you're donning a photo pass, there's an inherent understanding that your primary focus is your work while in the stage pit. However, should the music inspire you to dance or you simply wish to immerse yourself in a song by your favorite artist, it's courteous to relocate and find a spot along the side. This way, you can enjoy the moment without disrupting your fellow photographers.

Like a Ninja

When you moving through a crowded stage pit, exercise a high degree of awareness. While it's essential to capture the stage action, it's equally vital to respect your fellow photographers. Whenever possible, opt to move behind them rather than in front, ensuring you don't obstruct their shots. If you must cross in front of someone, make a conscious effort to crouch down, minimizing any interference with their shots. This considerate approach helps maintain a harmonious and professional atmosphere within the stage pit.

Overhead shots

Stages can be quite elevated, especially at festivals. Right! So if you find yourself in the situation where you must shoot with your camera raised high over your head and do a "Hail Mary", I really kindly consider you doing it from the rear of the stage pit. If not, it will just create another challenge for everyone behind you.

Film crews

Like it or not, cameras from film crews take up a lot of space in the pit and on the stage. Apart from that, they are most likely right on the spot where you want to stand. They are often in your picture and all the cables can drive you crazy.

Film crews can either come from a TV station or film at the request of the band. For example, for a live DVD/Blue-ray, a video clip, a streaming service or to show what happens on stage live big screens.

As filmed footage always has a more direct and bigger impact for the artists and record companies than photos, the TV and film crews are more important than you. So don't get in their way, and stay out of their shot. Look out for all the cables on the floor and the tracks for camera dolly systems. You definitely wouldn't be the first to fall over them.

Audience

Always remember that people in the audience have paid a lot of money for their tickets. A photographer standing right in front of them or walking by all the time is not what they want. Be considerate to the crowd standing behind you and try to disturb them as little as possible. Have a little chat with them before the concert starts, and tell them you will be out of their way after the first three songs. If the hall is seated, you should crouch down and try to walk around as little as possible. The fans are also often interested in when and where the pictures can be seen. This saves you a lot of moaning, shouting or worse.

Security

One of the most pivotal facets of stage pit etiquette is demonstrating unwavering respect for security and venue/event staff. While security personnel are primarily focused on the artist's and fans' safety, they also have your best interests in mind. It's genuinely advantageous for everyone involved to exhibit the utmost respect towards security and all event personnel.

When entering a new venue, taking a moment to introduce yourself to the security team can go a long way. For those who frequent a particular venue, fostering a rapport with security is even more beneficial. They can be your allies. Establishing a positive relationship with security is an asset you'll appreciate time and time again.

While it may seem obvious, it's worth reiterating that security directives are to be strictly followed. They have the authority to remove you from the stage pit if safety concerns arise or if there's a sudden change in artist policy that hasn't been communicated previously.

In the rare instance where security might make an mistake, such as miscounting songs, it's advisable to address the issue with the head of security in a polite and respectful manner. Anything less than that could result in you're going to get bounced.

STAGE pit!!!

The stage pit. Often also called “photo pit” - which is completely wrong!

First of all, it is important to note that the stage pit has a safety function first and foremost. It should separate the band from the audience and leave the necessary space for the securities to pull people out of the crowd.

The fact that you are allowed to enter the stage pit as a music photographer is a concession of the organizer and the securities, who are first and foremost responsible for the safety of the concert visitors and also for yours. Anyone who seriously believes that the stage pit is there especially for the photographers and that they have a legitimate right to use the pit, is badly wrong.

Conclusion

If I were to encapsulate the essence of "stage pit etiquette" in one word, it's unequivocally "RESPECT"!

As I wrap up, I'd like to leave you with this parting reflection - while much of this guidance may appear to be common sense, we can all benefit from a gentle reminder.

If you observe someone's actions negatively affecting everyone in the pit, consider engaging in a constructive conversation about how their behavior impacts everyone, instead of just grumble about it. We all have the opportunity to do better. After all, we're all in this together.

Do you have any recommendations or personal guidelines that you find helpful?

Please feel free to comment and share your thoughts on “Stage pit etiquette and tips for concert photographers”.

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If you like my work or the free stuff and want to say thank you, please use this opportunity now and

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