concert photography

[JCR33]

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I used my M240 and 50 APO in a concert last Dec, quite happy with the outcome.

 

 

 

 

 

 

 

 

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Edited June 30, 2016 by JCR33

[blitzsch.eu]

I just startet as concert photographer and do not have that big portfolio. But so far I love my M-P240 for concerts.
These shots were taken with the M-P240 and Zeiss 2/50mm. Beside the Zeiss 2/50 I am using a Leica Summicron 28mm and plan to invest into Summicron 90mm.

 

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[Peter H]

So many of the excellent photos in this thread prove that big long lenses on DSLRs should be regarded as a last resort rather than a preffered option.

[Echo63]

I just startet as concert photographer and do not have that big portfolio. But so far I love my M-P240 for concerts.
These shots were taken with the M-P240 and Zeiss 2/50mm. Beside the Zeiss 2/50 I am using a Leica Summicron 28mm and plan to invest into Summicron 90mm.

 

 L1001097.jpg

 

 L1001082.jpg

 

for "just starting out" you are producing some nice work ! 

both those pics are excellent (although the second looks a smidge bright on his face)

 

 

So many of the excellent photos in this thread prove that big long lenses on DSLRs should be regarded as a last resort rather than a preffered option.

sometimes its the only option...

maybe half the bands i have shot have specified "from the sound desk" which at most venues requires a 600mm - although its possible with an M, it would be a bit tricky.

[robert blu]

Many good photos in this thread, the energy of music makes them alive! Well done everybody!

robert

[markforce]

M9 in action during my very first concert shoot in the fall last year.

The first with 50 Lux at 640 ISO; the next with 21 SE at 1250.

 

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[otto.f]

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Is M9 also OK?

Joe Bonamassa in Amsterdam

 

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Edited July 1, 2016 by otto.f

[otto.f]

,

 

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Edited July 1, 2016 by otto.f

[otto.f]

,

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[otto.f]

.

 

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[otto.f]

This is also to show that you often don't need more than 320ISO with Leica lenses. I shot with a 35mm FLE and the APO Summicron 90 mostly f2.0 with 1/180 and around depending on the varying stagelight

[chris_tribble]

Completely agree re high ISO.  Depending on lighting I'll often shoot 800, and almost never above 1600.  The main thing is GET CLOSE...  Part of your skill set as a photographer is negotiating access.  Documentary and performance work are very different from street photography.  I did sneak an M6 and 135 Apo-Telyt into the Purcell Rooms once and got some shots of Tord Gustavsen that were eventually used on his second ECM CD liner (http://www.archive.ctribble.co.uk/_gallery/Portfolio%202003-2005/Jazz/slides/05_Gustavsen_001.html) but that really isn't the way to go... 

Edited July 2, 2016 by chris_tribble

[epand56]

Hugo Trova in concert. Both taken with an M8 and a Lux 50/1.4 Asph.

They both come from Facebook, so the quality of the images is much more poor than the originals.

 

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All the best.

 

 

[LocalHero1953]

So many of the excellent photos in this thread prove that big long lenses on DSLRs should be regarded as a last resort rather than a preffered option.

Perhaps a better approach is to use the lens you have to for what you want to achieve from where you are standing.

I agree that in many cases "if it's not good enough, you're not close enough", but there are some things you can do with a long lens that you can't do with a short one - foreshortening, for example, or an angle that you can't get from low down at the front of the stage.

[ECohen]

Check out these pretty great concert photos by Thorsten Overgaad as he reviews the 90 Summarit

http://www.overgaard.dk/leica-90mm-Summarit-M-f-25.html

"Classic 90mm work: Rock'n'roll"

"Shooting rock'n'roll and stage performance with the Leica M9 and the Leica Summarit-M f/2.5"

[erl]

I think it important to differentiate between "Concert Photography', and 'Theatrical Photography' when discussing technique and equipment.

IMO , Theatrical Photography varies much more widely in lighting, available angles for shooting, subject on stage, etc. The variety of shooting style demanded by Theatrical, IMO, is very wide in subject and lighting available.

 

Declaring what is best equipment to use is, again IMO, too wide open. You must arrive equipped to shoot ANY gear as the scenario unfolds.

[bocaburger]

The few concerts I have attended, I'm not sure I could have gotten ANY camera by security. Those of you who have or have special access, I congratulate. Getting cameras into concert/sporting events is a very hit and miss proposal anymore for the normal human being. Often being turned away is a real issue if your vehicle is not close enough to walk it back and put in the trunk so I just don't even bother trying.

Same situation here exactly.  How I solved it was by purchasing a Panasonic DMC-ZS40.  It is about the size of an iPhone 5 in one of those rugged cases, but the "Leica" lens is effectively 24-720mm.  (That's not a typo.  Seven hundred twenty millimeters).  It also has a built-in EVF, so I don't need to light up the screen for everyone to see.  I have gotten 3/4 body shots from the 40th row, head shots from the 20th.  Never been hassled outside or inside the venues.   In fact last year a pro with a backpack full of white EOS lenses used my Panny shots for his assignment because his press pass let him close but at a bad angle. 

I leave it on auto ISO, haven't found noise to be an issue, nor shutter speeds even though the lens is slow at max extension.  Always manage to get the faces sharp, even if occasionally the playing hands have a little motion, which actually enhances the shot. 

[ECohen]

The few concerts I have attended, I'm not sure I could have gotten ANY camera by security. Those of you who have or have special access, I congratulate. Getting cameras into concert/sporting events is a very hit and miss proposal anymore for the normal human being. Often being turned away is a real issue if your vehicle is not close enough to walk it back and put in the trunk so I just don't even bother trying.

 

I grew up in a different time where concert photography  was allowed...it was great!

A little off topic, I was just at the Newport Mansions in RI and here is the sign at the entrance ...The last line "SLR by written agreement only" I smiled at the guard and lifted my M240 to show her? 

That's OK,she said ....just no professional cameras .

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Edited July 5, 2016 by ECohen

[Peter H]

Perhaps a better approach is to use the lens you have to for what you want to achieve from where you are standing.

I agree that in many cases "if it's not good enough, you're not close enough", but there are some things you can do with a long lens that you can't do with a short one - foreshortening, for example, or an angle that you can't get from low down at the front of the stage.

 

 

Indeed this is true.

 

And you're more or less saying what I'm saying: use a long lens if you have to (or want to, of course) but don't feel that there's no other way of getting the shot you want. Obviously if you cannot get close enough, that's when a long lens is helpful: a last resort, in many cases!

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Hallo,

Look here: Leica M

[erl]

A situation I often encountered regarding a long lens was when I wanted a high angle shot and the only way to get it was from one of the balconies. That necessitated a long lens to stay close enough.

As an aside and counterpoint, I think my favourite Adrenalin rush was using a 15mm CV on my M9, on stage, mingling with the high speed dancers. This of course was a full dress rehearsal, with permission!