High Performance Pictures

Shelton Muller explains the techniques behind successful live performance photography…

Shelton Muller in the pits…(Photo:Greg Beyer)

It is not an easy thing to write about photographing live performers and performances. Most professional photographers are able to write about photographing such events from their perspective, which usually means having press passes, greater access to the stage and the ability to carry with them the equipment they will need.

For the average enthusiast however, these kinds of privileges are not possible for most major concert events. Cameras are rarely allowed in to such performances and access closer to the stage is also very difficult to get. However, despite this, we will look at the principles and techniques behind most performance photography so that when given the opportunity, the best images can be achieved.

Equipment.

Assuming that you already own a 35mm SLR of some kind, what we really need to consider primarily is the issue of lenses. Naturally, the length of lenses you use will depend on the kind of photographs you wish to get – and – as we have mentioned – the access you have to the stage area. What you really need of course are long lenses with wide apertures. Yes, that’s right – the kind that cost lots of money. However, they are integral to the job – and if stage and performance photography is something you want to concentrate upon, it is wise to make the investment. An 80-200mm f2.8 zoom is one of the most ideal lenses to own for this kind of work. As a side note, I also enjoy using my Nikkor 85mm 1.8 – a most wonderful piece of glass! For 35mm it is a fantastic focal length, but in conjunction with the 1.5 magnification I get on my Nikon D200, it gives me a focal length the approximate equivalent of 127mm f 1.8 lens, which is perfect for working near the stage. However, if you are able to access the area beneath the stage, wide angle lenses also work well, creating a visually dynamic image of the stage, lighting rigs and performers.

While most concerts highlight the talents of a performer or band, part of the attraction of live performances is the atmosphere they create, much of which is generated by the stage effects and lighting. Including these in your images will give the viewer a sense of context. Therefore, while most of the lenses we will use will be telephotos and zooms of various lengths, wide-angle lenses are useful for creating dynamic images of the stage, with the performers in their element. This is especially true if you are under the stage, from which perspective sweeping wide angle images can be very effectively made.

ISO

While we naturally assume the need for higher ISO settings, we don’t need to get too carried away. An ISO setting of 400 is often fast enough, considering the lighting that is used to illuminate the performance. In conjunction with wider apertures, shutter speeds of 125^th of a second or more are easy to get in many cases – especially if you know understand how to properly meter for such occasions. Don’t worry too much of your shutter speed falls a little under your preferred working speed. Blur denotes movement, and this can actually enhance images of live performances

White Balance

Stage lighting is usually tungsten and so colour balance can be an issue. However, it is rarely a problem, considering the strength of the lighting, the colourful nature of stage illumination and the fact that colour can usually be corrected afterward. If you are shooting digitally, set your camera to adjust the white balance automatically, or set for tungsten.

Metering

Performance photography brings with it some very difficult metering situations. Flash is not a good idea and it goes without saying that performers often do not appreciate it themselves. It is usually forbidden – even for official photographers. Aside from that, it may overwhelm the photograph if you are close enough and actually remove all the effects of the stage lighting, thus eliminating an important element in the dynamics of the performance. If you are further from the stage, the flash will only work to light up the backs of people’s heads. So, go with the lighting you are given as it is more compatible with the event itself.

Meter for the highlights and you rarely go wrong

Backlighting – and large unlit areas behind the performer – fool the camera’s metering system, making it provide an exposure reading as if the stage is actually very dark. However, the light that actually illuminates the performer is what you really need to meter for – and this is often very bright. As the old song says, ‘black is black’, and so it is irrelevant how dark you allow the area behind the performer to be in your images. However, if you allow the meter in your camera to include this area in its calculations you will find that the faces of your performers are overblown and lack detail because of the strong frontal lighting and heavy contrast. If your camera has a centre-weighted or spot metering facility, you can utilise this very effectively to meter for the face of the main performer, who is often spot lit and stands out in stark contrast to fellow performers and/or backing musicians. Metering for such highlights also accentuates shape and form and makes your subject stand out from the background.

Despite this precaution, bracket your exposures to compensate for this very unpredictable metering situation. Shoot plenty of images and use your motordrive. If you are shooting digitally, you’ll have even greater flexibility, as your only limitation is the size of your memory cards. Shooting digitally also offers you the option to preview your images onscreen to assess your exposure while shooting. This is a serious advantage as metering for digital photography is a more exact science than shooting with negative film, so ensure your exposures are as accurate as they can be. Over and underexposure in this kind of lighting situation is not something that pixels are very good at forgiving.

Who is that?

There is a serious advantage to knowing the performer, the song or at the very least – the nature of the music or performance. Each performer usually has a signature stance, pose or musical role and your readiness to capture this will make your pictures more compatible with each performer. Being ready for a guitar break, a final pose at the end of a song or a gesture to the audience or fellow performer adds a more distinct and individual element to your images of each of your artists

Performance photography can range from a local amateur production or pub gig to a major concert event. No matter which of these you photograph, remember that – as Shakespeare once wrote “All the world’s a stage, and all the men and women merely players; they have their exits and their entrances, and one man in his time plays many parts…’

If your part is to photograph the players, make your entrance count.

Shelton Muller is a Melbourne –based photographer and the editor of Total Image and Better Pictures magazines. He can be contacted via his website at www.photographybyshelton.com

• Shooting in Available Light
• Shooting in available light
• Nikon’s D80 high-performance digital SLR
• Fujifilm Finepix A920, high performance but easy to use entry-level camera
• Nikon Coolpix S210 blends slim design and high performance in compact digital camera