Harry Styles’ film photography experiment at his latest show has left concertgoers disappointed with many coming away with empty frames. At the sold-out show in Manchester, UK, this month, Styles banned smartphones, instead giving the 20,000 fans disposable cameras. The cameras, sourced from FotoFilm, came loaded with 27 exposures of ISO400 color print film and had a built-in manual flash – these usually retail for £15.99 a piece.

While the nostalgic sentiment of using a film camera to capture the magic of Styles’ first concert in over two years was a hit, many of the photos were not. In a recent Instagram post, Analogue Wonderland, a UK film photography company that has processed scores of the disposable cameras used at the show, has said “hundreds” have been duds.

The Instagram post includes a reshared clip from a BBC 2 radio show where a fan who was at the concert holds up their developed film frames, with nothing but “three red dots” of light to show for the experience.

Although disposable cameras are a fun alternative to higher-end gear, they are certainly not suited for the tricky low-light conditions at music concerts, especially when you throw flashing stage lights into the mix.

As one of the commenters on the Instagram post highlighted, many people seem to assume that disposable shooters are of the same quality as digital cameras, which just isn’t the case. What’s more, even higher-end film cameras would still struggle in this scenario compared to smartphones.

Another commenter who was at the gig said that it was all a bit “chaotic” and that they didn’t receive a disposable camera. However, according to the Mirror fans were made to keep their smartphones in plastic bags, which didn't stop some from taking photos, which have been shared online.

Harry Style’s failed experiment should be a lesson to any concert photographer that disposable cameras can’t be relied on. While I don’t know what the success rate from the 20,000 attendees was, as a film shooter, it’s better not to take the chance, and get yourself a proper rig. To help with this, here's our expert take on the best cameras for music photography and (if you want to go analog) the best film cameras.

While it’s becoming more difficult to make a living purely out of music photography, there are still talented, well-connected, and hardworking photographers who are able to do so. Great concert photography takes more than a camera that performs well in low light – it's about timing, instinct, and experience.

Few understand this better than Kevin Nixon. With decades of experience in the industry, he's well-placed to explain how you can take better shots at live music events.

Here, he shares his top 10 concert photography tips to get you started.

10 top tips

1. Practise your craft
Practise, practise, practise. Develop your skill, hone your technique, take lots of images – digital storage is cheap!

2. Camera equipment
You should be familiar with your equipment and aware of the different shooting modes and controls on your camera.

3. Digital retouching
Become familiar with Lightroom. It is essential to establish a workflow and a style, but don’t overcook your images.

4. Back-up
Always back-up your images. Computers fail, hard drives fail. Personally, I back-up everything twice on separate hard drives.

5. Shooting etiquette
Know how to behave in the pit, as nothing is more sure to isolate you from other photographers than being disrespectful while you are shooting.

6. Self-promotion
Sell yourself! Get a website, utilize social media. Remember, less can be more, so if you shoot a gig, don't put 30 shots from the same show on Instagram – two or three is perfectly adequate.

7. Study other photographers
There are loads of great music photographers out there, so look at other people's work.

8. Selling your services
Remember, your images have a value – you are worth more than a credit!

9. Be realistic
The chances of making a living shooting music are very slim, but with practice and perseverance, there is every possibility to make inroads into the industry.

10. Enjoy
Finally, enjoy the experience! It can be challenging, frustrating, and incredibly difficult at times, but ultimately it is great fun and can be incredibly rewarding.

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What does it really take to break into the photographic industry? We caught up with a seasoned music and event photographer, Carrie Davenport, who works exclusively with Nikon gear, to hear how she carved out a name for herself behind the lens.

Carrie is a highly regarded photographer based in Belfast, Northern Ireland, known for her dynamic work across music, events, commercial projects and portraiture.

Her passion for photography began during her school years, eventually leading her to leave a career in design and establish her own photography business in 2005. Since then she has built an impressive portfolio, capturing everything from high-energy live performances to striking commercial imagery.

With a sharp, creative eye and a deep understanding of visual storytelling, Carrie regularly travels throughout Europe and further afield for professional shoots. Let's take a closer look at Carrie's journey – from her early days behind the lens to the influences that shape her work – and discover the tools and techniques she uses to bring her vision to life.

Career Path

Carrie’s Photo Kit

Nikon D6

"This is a workhorse! It is weatherproofed, reliable and I love it – I never go to a job without it. This camera just has gorgeous colours, tones and AF speed."

Nikon D780

This is Carrie's backup camera, of which she has two. It features a full-frame (FX) format sensor, so is compatible with the same lenses as Carrie's D6 body.

Nikon AF-S Nikkor 85mm f/1.4G

"I love my 85mm f/1.4 lens for portraits – it gives gorgeous depth of field and has such warm tones," says Carrie of this short telephoto prime lens.

Nikon AF-S 70-200mm f/2.8G ED VR II

"I couldn't do without the 70-200mm f/2.8 for events," she says. "I recently bought this due to a work accident, but I preferred the old version due to its ring placement."

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Browse the best professional cameras and the best lenses for concert photography.

Every pro photographer needs clients by definition, and most are lovely – but oh, can they be a ballache. They don't know how to talk about what they want. 'I want candid photos,' said one, and that's what he got – only for me to discover that he actually wanted posed photos. 'Why isn't anyone looking at the camera?!' he moaned.

Another insisted she wanted candid photos, but actually wanted group shots of the entire room, which she later used to advertise her club night instead of my intimate portraits. 'Candid', to many clients, is a term they know photographers use, so they try to impress us by using it too, not understanding what it actually means in terms of the photos they'll get. Let me say this candidly: it's a massive annoyance.

Clients' inability to accurately describe what they're after can make my job very difficult. One of my first clients insisted she wanted to be retouched to the max – 'I know you're not a miracle worker, but please get rid of my wrinkles and eye bags!' she asked. I duly did as requested, only for her to say, 'I look too young – I don't look like myself anymore.' I can just imagine the news headline: Woman in 'lack of wrinkles makes her look younger' shocker!

One way of mitigating this situation is to retouch a single photo and then ask the client whether they're happy with it, but even that can elicit bizarre requests. 'Can you adjust my eyelids?' asked a recent client. Adjust them how? Turn them inside out?! 'I want to look glamorous but also natural,' she also told me, unaware that these were two ends of a spectrum. Eventually I gave up and turned down the promised future shoots with her, because her endless baffling edit requests became too much. These days, to avoid this, I tell clients that one round of edits is included in the price, and any further edits will incur charges. I do less editing as a result.

I have always insisted on being paid before I deliver the photos, and I've never had a client not pay me yet – though there's always a first time. Nor have I had an argument with a client, though I have had plenty of clients post my photos on Instagram without crediting me, despite me saying 'a credit would be appreciated'. Life's too short for bust-ups and they're bad business practice.

In my second year of pro photography, I'm moving into weddings, which I'm expecting to be more stressful as they're high-stakes and there's more pressure. You can recreate a portrait shoot if something goes terribly wrong, but you can't recreate a wedding. I'm envisaging more drama for starters, so it's a move I'm making with some trepidation.

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Check our guide to the best cameras for portrait photography and the best camera for wedding photography.

"How do I get into event photography?" It's a big question – and one that might've crossed your mind... There's no one-size-fits-all answer, but let's unpack a few essentials to get started – the gear, some tips, and real-life insights and advice by a professional events shooter, Jules Renahan.

Event photography is easily one of the most demanding areas in photography. You're often dealing with restricted movement, unpredictable lighting, fast-paced moments, and limited access to your subject. It's rarely easy, but with the right tools and a bit of planning, it becomes a challenge you can absolutely rise to.

One of the first things to consider is your camera. Low-light performance is important here because events won't always give you perfect lighting conditions (especially concerts or theaters indoors). Brands like Sony, Canon, and Nikon all offer strong low-light options.

If you purchase a new camera, you want a strong performer when it comes to noise control and image clarity in low-light scenarios. When choosing the body, look beyond the specs. At DCW, we often include lab info in our reviews, to see how each camera performs across key areas – so you can choose with confidence, not just guesswork.

Now let's talk lenses – because flexibility is everything. At any given event, you'll need to switch from wide shots that capture the stage or venue to tighter compositions that isolate individuals or small groups. You might also want to zoom in on subtle details that add a storyline to your images.

A versatile optic is your best friend here. Depending on your event and style, a 70-200mm f/2.8 telephoto, a 24-70mm f/2.8 standard zoom, or even a 16-35mm f/2.8 wide-angle lens might be the best option. For more on this read our guide to the best lenses for events photography.

Just as important: the maximum aperture to balance exposure when you shoot with faster shutter speeds. Next to this, keep an eye on image stabilization and the lens weight. You'll likely be on your feet for hours, constantly moving.

To give you a real-world perspective, we spoke with Jules Renahan, owner of Jules Renahan Photography and co-founder of PhotoHound. She shared her thoughts on what to expect in the field, how to stay prepared, and what it takes to thrive in event photography.

Interview

Tell us about yourself and what you do…

I’m a former teacher and relative latecomer to photography. I did a landscape photography course in Slovenia when I lived there for a few years. This developed into a love of capturing people and candid moments. I started out doing ‘favours’ for friends who wanted events covered and found myself shooting my daughter’s dance workshops or my son’s football matches.

I gradually turned this to my advantage and now work as a freelance event photographer covering events from local festivals to corporate conferences, dance studio photography and theatre performances. I’m also the co-founder of PhotoHound, a travel photography app to help find and get to the best photo spots.

What do you enjoy most about photographing events and what aspects do you find challenging?

I enjoy the thrill of working with whatever is in front of me when I arrive at an event or workshop. I love finding the best moments that tell the story of the day. Unpredictable light is the most challenging aspect of event photography and, for that, I’m grateful that my Nikon Z7 II and backup Z6 perform well in low light.

I shoot RAW for greater control over exposure and white balance in post-processing. Flash is rarely an option at events as the aim is to be as unobtrusive as possible, particularly during conferences or theatre performances. I work with the available light, which often changes throughout the shoot, particularly where stage lighting is involved.

What was the best event you ever photographed and why?

My favorite event was an inclusive dance charity gala at Sadler’s Wells for Children Today. It brought together disabled and non-disabled dancers to tell an inspiring story of unity, resilience and the power of dance. Sadly, underfunding of the arts means that these jobs are usually less well-paid, so I try to balance arts events and corporate bookings.

How do you find your work?

The majority of my work comes through local networking and collaborations with other photographers. I don’t see other photographers as ‘competition’, but rather as a community to share ideas. Sometimes, giving my time freely to carefully chosen projects that I believe in has led to new, paid opportunities. For example, my work with the National Youth Ballet came from volunteering to photograph an inclusive dance project. They then included a budget for photography in their Arts Council bid for me to produce a body of work documenting their All In! programme.

My first corporate event booking came as a result of meeting videographer Matt Cotton of Disruptive Media. He needed a second shooter for stills while he focused on videography. Instagram is also a great platform for advertising your services and making useful connections.

What advice would you give to any of our readers wanting to photograph events?

If you’re starting out in event photography, my advice would be to know your camera. You’ll often be working in low light and need to be ready for anything once the event starts.

Second, find a photography community or network where you can ask questions. I’m so grateful to the SheClicks community (an all-female photography group) who are a source of advice to other female photographers.

And finally, follow the brief carefully to the deadline and communicate efficiently with your client. Once they can rely on you, they’re more likely to add you to their list of preferred suppliers.

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It’s that time of the year when teens are either going to proms or to graduations. And many of us as photographers are being asked to document some of the events. At each of these events, you have the opportunity to get some wonderful photographs, but because they’re special, once-in-a-lifetime moments, akin to wedding photography, you want to take care not just what photos your capture, but also how you shoot them. 

Here a few thoughts to keep in mind when shooting prom or graduation photos…

Study your camera gear

When it comes to shooting these types of photography events, it pays to take some time to learn more about your camera and gear. Know how to switch your settings from auto mode to aperture-priority, shutter-priority, or full manual, and other types of settings or modes you’ll want to use that day. 

For me, it was helpful, for instance, when I was capturing images of my daughter before the prom and set the camera in aperture-priority mode. That allowed me to open up the aperture to a relatively wide setting in order to create a shallow depth of field and keep the focus on her face, instead of the background. 

However, a few years later, when she graduated from college, I made sure I set the camera to aperture-priority mode when she jumped up into the air and tossed her graduation cap into the air. That mode allowed me to freeze the motion and not get any motion blur. 

Examine the environment

One of the things that can be a big help when capturing prom or graduation photos is to get a sense of what the setting will be like. For instance, will you be shooting inside or outside? Both? If you can do so ahead of time, see if you can visit the location in person so you can study the setting and the available or natural light, which can help you figure out where you’ll want to capture your images. Take notes while you’re there. It will also help you figure out the gear you’ll need for the event. 

For instance, before the day of my son’s graduation, I knew it was going to be held in a rather large, university-size arena, which meant I wanted at least one long telephoto or zoom lens to be able to capture him as he was walking to and from the stage to receive his diploma.   

For group portraits, avoid directing your subjects to pose

Years ago, I remember wedding photographer Joe Buissink saying that when he shoots group portraits at weddings, he never sets up the shot or poses anyone. At most, he’ll simply give some general directions on where the group might stand. Instead, Buissink said he lets the subjects of the group portrait congregate, more or less, and he never positions them in a certain order. This is sound advice for shooting prom and graduation group portraits, as well. Why? There are two reasons: First, the resulting images will have a more organic quality to them. But, there's a practical reason you may not want to force people to line up in a certain order: You don’t want to have two people standing next to each other who don’t like each other.

Colin Prior will be on the Behind the Lens stage at The Photography & Video Show 2025 giving his talk ‘The Landscape Within' on Monday, March 10, 11.20am to 12pm. I asked him what it was all about…

Book your ticket to The Photography & Video Show and save 20%

The Photography & Video Show 2025 is at the London Excel exhibition center, running for four days from Saturday, March 8 to Tuesday, March 11. It is open 10:00 to 17:00 every day. You'll find everything you need to know here.

The Photography & Video Show is presented by Future plc, which is also the parent company of Digital Camera World.

Sujata Setia will be on the Behind the Lens stage at The Photography & Video Show 2025 giving her talk ‘A Photographer’s Exploration of Purpose' on Saturday, March 8, 2.45pm to 3.25pm. I asked her what we should expect to learn…

Book your ticket to The Photography & Video Show and save 20%

The Photography & Video Show 2025 is at the London Excel exhibition center, running for four days from Saturday, March 8 to Tuesday, March 11. It is open 10:00 to 17:00 every day. You'll find everything you need to know here.

The Photography & Video Show is presented by Future plc, which is also the parent company of Digital Camera World.

Courtney Victoria will be on the Creator Stage at The Photography & Video Show 2025 giving her talk ‘Stepping into YouTube… Creating a rewarding channel’ on Saturday, March 8, 3pm to 3.30pm. I caught up with her to see what she had planned…

Book your ticket to The Photography & Video Show and save 20%

The Photography & Video Show 2025 is at the London Excel exhibition center, running for four days from Saturday, March 8 to Tuesday, March 11. It is open 10:00 to 17:00 every day. You'll find everything you need to know here.

The Photography & Video Show is presented by Future plc, which is also the parent company of Digital Camera World.

Scott Kelby will be giving several talks at The Photography & Video Show 2025, including ‘Lightroom Killer Tips’ at the Editing & Post-Production Suite on Sunday, March 9, 2.45pm to 3.15pm, and ‘The Stuff Other Photographers Won’t Tell You’ on the Behind the Lens stage on Monday, March 10, 3.45pm to 4.45pm. I caught up with him to see what he had in store…

Book your ticket to The Photography & Video Show and save 20%

The Photography & Video Show 2025 is at the London Excel exhibition center, running for four days from Saturday, March 8 to Tuesday, March 11. It is open 10:00 to 17:00 every day. You'll find everything you need to know here.

The Photography & Video Show is presented by Future plc, which is also the parent company of Digital Camera World.

Music photographer Christie Goodwin will be speaking on the Behind the Lens stage at The Photography & Video Show 2025 with her talk 'Finding your own voice in photography'. I caught up with her to see what she had in store…

Book your ticket to The Photography & Video Show and save 20%

The Photography & Video Show 2025 is at the London Excel exhibition center, running for four days from Saturday, March 8 to Tuesday, March 11. It is open 10:00 to 17:00 every day. You'll find everything you need to know here.

The Photography & Video Show is presented by Future plc, which is also the parent company of Digital Camera World.

Following a career of falling off horses (682 times in all, but fortunately interspersed with a few winners along the way), when I walked through the doors of Speos International Photography School in Paris in 2010 I hoped it might take me on a journey – with time behind a lens that would not only open new doors but open my eyes.

After a year of reasonably hard graft and learning in the French capital, it has certainly done that. Photography has taken me to the slums of Delhi, shooting equines for the Brooke Charity, and to Kibera in Nairobi – one of the largest and poorest neighborhoods in the world to photograph families affected by AIDS.

I have shot Joanna Lumley in a muddy field surrounded by chickens, Supervet Noel Fitzpatrick replacing a dog’s hip joint in what seemed no time at all, and photography has also introduced me to royalty; the Duchess of Cornwall, as patron of the charity, attended my 2014 exhibition held in aid of Brooke.

Photography has also taught me to plan and be prepared for the various mishaps that can happen along the way. Since a generator blew up a power adaptor for my Mac on the Mongolian Steppe, I have always carried spares. And I became so neurotic that everything would fail, I would back up images twice – even thrice – as we bumped along dirt roads tracking a 1,000km horse race.

These days, after moving to Spain over five years ago, photographic assignments have become fewer and farther between. I have my own photo projects near Madrid but a lot of my time, from May to October, is now taken up with leading tours for Wild Frontiers Adventure Travel, owned by an old friend Jonny Bealby.

This year marked 21 years since I first accompanied Jonny on horseback across the snow-capped Kyrgyz mountains, camping in remote valleys and enjoying vodka-fuelled evenings with the clients in the mess tent. There is a little less vodka poured these days on tour, but Central Asia is still a prime location for the company, and I jumped at the chance this autumn to take a group to the 5th World Nomad Games in Astana.

Ever since blagging a press pass while at Speos to cover a France-Italy Rugby International, and trailing one of our greatest racing photographers Ed Byrne around Auteuil Racecourse in the Bois de Boulogne, I have always preferred shooting sport and action. So although we would probably be sat far back in stands at the World Nomad Games, I did take one of my old Nikon D4s and my go-to lens the Nikon 70-200mm f/2.8.

As the name suggests the Nomad Games involves the sports of the Steppe; Kazakh wrestling and strong-man competitions, as well as equestrian sports, such as archery on horseback and – one of the toughest sports I have ever witnessed – Kokpar. It’s the equivalent of American football on horseback – and with a sheep's carcass for a ball.

Two of our group had already been to the Olympics during the summer and seemed to enjoy the Nomad equivalent just as much, if not even more, than Paris. So I was looking forward to an extra day at the Games after the tour had ended.

It was to be the day of the final of Kokpar, held at Astana racecourse between two bitter rivals: the hosts Kazakhstan and neighboring Kyrgyzstan. The sport involves picking up a 30kg sheep’s carcass (mercifully a dummy is used these days) from the floor and carrying it to your opponent’s goal – one of two circles on the ground at either end of the pitch.

From the moment a contender picks it up, they will have any one of the six opposing players trying to rip it from their grasp. Needless to say, it is played by some of the hardest, toughest and strongest guys I have seen astride a horse.

Although attended by a smaller crowd than you would have seen at the Stade de France, the atmosphere was electric. I was just about to take my place high up in the stands, more prepared to watch the match on the big screen than take images, when Mike Pullman, marketing guru at Wild Frontiers, texted me. "I have just managed to get a press pass for the final, would you like to shoot from the infield, beside the pitch?"

I was down the steps like a shot. Five minutes later I had the pass around my neck and was taking my position under the rails at the edge of the ground. But I was totally underequipped… no second body, no AF-S 24-70mm f/2.8 and certainly no AF-S 200-500mm f/5.6! But I would just have to make do. For 14 minutes it was one of the craziest, most hard-fought and most enjoyable sports events I have ever covered.

And then it just stopped. With the hosts 3-1 down and with mere minutes to play in the first half, there was an incident that led to the Kyrgyz team walking off the pitch, the mounted police became involved, and all photographers and cameramen were removed from the pitchside and sent back behind the rails.

I retired to the grandstand (perhaps my rightful place) and did a spectacularly bad job with the 70-200mm, capturing the crowd's reaction as the Kazakhstan team heroically fought back to equalize and send the game into extra time. And when they scored the winner, the crowd went nuts!

It had been another day behind the lens, planning and preparation had been dire, but what a day!

You might be interested in the best cameras for sports photography, along with the best lenses for sports photography. And don't forget to take a look at the best Black Friday camera deals.

Canon's new flagship camera is finally on sale, four months after it was announced. And, with the camera in my hands again this week, my feelings are the same as that day in July when I first used it: the Canon EOS R1 is simply a cheat code for photography.

The first time I shot with the R1 was at BMW Park, home of the storied Bayern Munich basketball team. I'd been sitting in a presentation where Canon specialists were telling me how clever the camera's autofocus was, lightyears ahead of the mighty Canon EOS R5.

I was told that the R1 was so clever that could predict when basketball players would perform an alley-oop – a play where the ball handler lobs the ball towards the basket, while a teammate leaps and catches it in midair before throwing it into the hoop for a spectacular dunk. The R1, I was told, would track the ball handler, detect that an alley oop was being set up, and automatically shift focus to the receiving dunker.

This was nonsense. Cameras like the R5 could follow the ball, or stick to the player I told them to, sure. But without manual intervention they wouldn't know which player to prioritize – and they damn sure wouldn't be able to distinguish whether a player was throwing the ball at the basket or making one of the most elaborate setup plays in basketball.

So, while shooting some hoopers in Munich, I asked if they could set up a few alley oops. And they did. And I was gobsmacked: sure as sugar, the R1 tracked the ball handler, followed the ball as it was hurled at the basket and locked on to the receiver to capture a completely in-focus dunk – all at 40fps, with every single frame in focus where it was supposed to be.

That was the exact moment. That despite people joking that this was "just an R3 Mark II", or claiming that the autofocus "wasn't that much better" than before, that was the moment I knew the R1 was nothing short of a cheat code for shooting sport.

I've waxed lyrical about all the camera's clever tricks in my Canon EOS R1 review, which I advise you to read if you're interested. Long story short, the camera features a dedicated Digic Accelerator processor on top of the Digic X chip to power the all-new Dual Pixel Intelligent AF.

With it comes tricks like Action Priority mode, which uses AI dataset deep learning to predict player movements for things such as alley oops. There are currently presets for three sports – basketball, soccer and volleyball – but I understand that more can (and, more than likely, will) be added via firmware.

You've also got tricks like Registered People Priority, where you can program up to ten faces in order of priority – from the star player to the scrub on the bench to the coach on the sideline – and the camera will prioritize focus on the most important face that enters or leaves the frame. You can program the camera by taking a photo of the person on the court, or even by taking a photo of their picture on the internet!

There are so many other incredible tricks to this camera, from the pre-continuous shooting (which starts recording frames when you half-press the shutter, so you can literally capture shots before you press the button) to the Neural network Image Processing that enables you to upsale your 24MP shots to 96MP files with no quality loss (which is great not just for blowing an image up big, but also cropping into your shot and then enlarging it back to or beyond its original size).

But the biggest testament I can give to the Canon EOS R1 is the fact that it didn't miss a single shot.

"I shot 3,525 images on a camera I'd never used before and I got a 100% hit rate while photographing sport. Basketball, at that, which next to combat sports might be the trickiest of all for a camera to shoot," I wrote in my review.

"This camera simply didn't miss a beat when I tested it – not a single incident of focus hunting, no focus drifting onto random patterns in the background or suddenly jumping to a knee instead of a face or another subject entirely.."

That's more than I could say about the Sony A9 III, which managed to miss about 10% of shots – which is still bloody impressive, but it made some serious rookie mistakes like focusing on a hurdle when it was supposed to be tracking the runner jumping over it.

The Canon EOS R1 is simply the best sports camera I've used. Even if I feel like my photography is on PEDs when using it.

As one of the best Canon cameras, the R1 can accept both the best Canon RF lenses as well as the best Canon lenses for DSLRs using an adapter. And make sure to check out the best Canon Black Friday deals!

A social media influencer from Texas was disqualified from the 2024 New York City Marathon, and banned from any subsequent competitions, after he turned up with a camera crew on electric bikes.

The organizers, New York Road Runners (NYRR), said in a statement last week that influencer Matthew Choi, 29, violated the group’s code of conduct and competition rules, not to mention those of World Athletics, running’s international governing body.

The group said:

“One of the incidents brought to NYRR’s attention was that Choi ran with the assistance of two unauthorized people riding the course on electric bicycles, obstructing runners.”

He has been accused of injuring runners, obstructing water stops, and preventing people from getting personal bests and finishing in higher positions.

More than 55,000 people ran in the event and Choi, who describes himself on his Instagram profile as a “video producer” and “athlete”, finished the 26.2 mile (42.2 km) race with a time of 2:57:15, about 50 minutes after the overall winner, Abdi Nageeye.

Choi posted numerous videos of himself running the marathon to his Instagram page resulting in a large amount of criticism in the comments.

One user commented:

“Leave your brother and his e-bike at home next time. You caused many runners to miss aid stations!! From one runner to another… have some respect for the sport.”

Another wrote:

“If a man runs a marathon and doesn’t produce a feature film about it, did he really run a marathon?”

His behavior has been branded by many as “narcissistic,” however, Choi posted another video to his Instagram after his disqualification and subsequent banning, apologizing and accepting the verdict.

He said:

“I have no excuses, full stop. I was selfish on Sunday to have my brother and my videographer follow me around on e-bikes, and it had serious consequences.

“With the New York City Marathon being about everyone else and the community, I made it about myself, and for anyone I impacted, I’m sorry. To be clear, this was 100% on me.”

He admitted that he blocked people from getting water, affected personal bests, and endangered other runners.

Despite the apology, and promise to never use e-bikes in a marathon again, many users on Instagram branded the video virtue signaling, and suggested if Choi was truly sorry he would remove the videos that were taken during the race.

An Instagram user said:

"Weird how your apology came after the lifetime ban from NYRR and backlash. You had 3 hours to call off the bikes after impeding many other non-influencer runners that probably worked harder than you to earn their bibs. Don’t quite understand the praise for apologizing, it’s a standard expectation what [sic] should happen after pulling what you tried."

Take a look at our guides to the best cameras for cyclists, along with the best helmet cameras.

CatchLight, Fondation Carmignac, and Dysturb present the Night of Journalism in Paris next month on November 9, 2024 as part of the PhotoSaintGermain Festival.

These three leading photojournalism organizations share a commitment to harnessing the power of visuals to challenge stereotypes, highlight human rights violations and social issues – and encourage engagement with difficult topics.

Admission is free with RSVP, and tickets are allocated on a first-come, first-served basis.

The event will bring together over 100 photographers, journalists, photo editors, visual organizations, creative collectives, and digital content creators as well as members of the public for a night of incredible photography, panel discussions, as well as the launch and opening reception of the CatchLight Global Fellowship Program.

CatchLight will award three people with $30,000, making them Global Fellows, in order to help them develop their careers, and tell the important stories. Applications will be open between November 9 and December 14, and entry is free and open to all visual storytellers.

The conversations and photographs on display at the Night of Journalism organized around four themes: State of the Union, Women, Place, and Winning.

Highlights from the photo series at the event include Beyond the Frontline: Civilian Perspectives in Ukraine and Palestine, a project from Anastasia Taylor-Lind, 2024 CatchLight Global Fellow, and Tanya Habjouqa.

Their conversation explores long-form storytelling, the importance of listening to local voices of civilians in war zones, disrupting stereotypes, and how their years-long projects document moments of resilience and normalcy in heavily photographed conflict regions.

Also No Woman’s Land: An Intimate Look into the Battle for Women’s Rights in Afghanistan from Kiana Hayeri and Mélissa Cornet, laureates of the 14th Carmignac Photojournalism Award Presented by Fondation Carmignac.

Over six months, Hayeri and Cornet traveled through seven provinces documenting the effects of Taliban rule on women and girls, capturing stories of those denied basic rights, including access to education, work, and public spaces.

French and English translations will be available, and a pop up bar and café will work as a networking hub to connect with peers and leaders in photography and visual storytelling.

If this has inspired you to take your own photographs, take a look at our guides to the best cameras for beginners, the best cameras for professionals, and the best travel cameras.

The annual Kraszna-Krausz Book Awards was established in 1985, to recognize individuals or groups of individuals who make outstanding or lasting contributions to artistic or photographic literature or the moving image. 

Two winning titles are selected: one in the field of photography and one in the field of moving image, which includes film, television and digital media. 

On November 19 at the V&A Museum in London, the Kraszna-Krausz Photography Book Award Symposium 2024 will take place as a free event open to the public. 

Artists Hristina Tasheva, Alice Proujansky and Lewis Bush will present their award-winning and nominated publications, followed by a conversation chaired by Duncan Forbes, head of photography at the V&A, and a drinks reception in the Silver Galleries. 

Hristina Tasheva wins the 2024 Photography Book Award for her self-published Far Far Away From Home: The Voices, the Body and the Periphery. She created this multimodal piece using contemporary photography, found imagery and archival research, as well as pressed flowers gathered from her visits to Dachau Mauthausen concentration camp memorials.  

Tasheva was born in communist Bulgaria in 1976, and is now based in Holland. "I have been living in the Netherlands for 20 years now, which is governed by a parliamentary democracy," she says on her website. 

"I walked the path from illegal immigrant to a holder of Dutch nationality and I am still struggling to find my place in society – this is the main subject of my artistic practice."

Far Away From Home: The Voices, the Body and the Periphery tries to answer questions of what it means to be communist today, or to define yourself as one, and how personal interpretations of history, and the politics of remembering influence our identities and perception of the future. 

She shares the £10,000 (approximately $12,900 / AU$19,600) prize fund with Jie Li, winner of the 2024 Moving Image Book Award for Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China (Columbia University Press). The project draws on a huge wealth of archives, memoirs, interviews and ethnographic fieldwork, to create a media history of Chinese film exhibition and reception that offers a fresh insight into the power and limitation of propaganda. 

The awards are free to enter and open to publishers, authors, collectives and individuals self-publishing their works in a truly democratic celebration and recognition of incredible global storytelling. 

The call for the 2025 Kraszna-Krausz Book Awards will be issued in November 2024 

Sir Brian Pomeroy CBE, Chair of the Kraszna-Krausz Foundation, says of this year’s winners:

"We congratulate Hristina Tasheva and Jie Li on their outstanding winning books. They have fully upheld the tradition of excellence which has consistently marked the Kraszna-Krausz book awards for nearly four decades."

As well as Hristina Tasheva, speaking at the event in November will be Alice Proujansky whose work Hard Times are Fighting Times was shortlisted, as well as Lewis Bush, who was longlisted for his work Depravity’s Rainbow.

It is a free event open to the public, and tickets can be booked through the V&A website.  

If this has inspired you to enter next year, why not take a look at the best professional cameras, the best cinema cameras, and the best coffee table books on photography.

Singer Chappell Roan has explained why she swore at a photographer on the red carpet at the MTV Video Music Awards this week. 

On Wednesday September 11, while Roan’s stylist fixed her dress and amid the chaos of the crowds, a photographer was heard shouting "Shut the f*** up," which prompted the MTV ‘Best New Artist’ to respond in kind, shouting:

"You shut the f*** up. No, not me, b***h."

The clip went viral on social media, however, speaking later to Entertainment Tonight on the red carpet Roan, whose real name is Kayleigh Rose Amstutz, explained why she felt the need to set boundaries with the photographers. 

"This is quite overwhelming and quite scary," she said. "I think for someone who gets a lot of anxiety around people yelling at you … the carpet is horrifying, and I yelled back. You don’t get to yell at me like that."

She later said the VMA red carpet was a "horrifying" experience.

It’s been over a century since theater mogul Sid Grauman introduced the concept of the red carpet at the 1922 premier of Robin Hood, and it’s now become an essential part of 'celebrity', with photographers clamouring to catch their every move. 

It sounds stressful from both sides, as George and Amal Clooney were recently filmed rushing to a photographer's aid at the Venice Film Festival after he tripped and fell onto the red carpet. As he gets up another photographer can be seen shouting at yet another photographer, who had used the distraction to get closer. 

The tight crowd of photographers all lurching forward, the flashing lights, the shouting, the live filming, all combine to create what sounds like a terrifying experience.

Speaking to CNN, photographer Chelsea Lauren, who has documented the red carpet scene for the photo agency Shutterstock for nearly a decade, admitted that the red carpet can be overwhelming, even for the most seasoned celebrities.

"I have a lot of (actors) tell me they look for me on the carpet because it makes them feel calmer and safe," Lauren told CNN. "It’s a lot to be screamed at like that… Sometimes, they’ll break from posing and run over to me on the carpet to give me a hug."

Stephen Lovekin, a Shutterstock Staff Photographer, wrote in Photography News that it’s not all fun and games on the other side either. Speaking about shooting at the Met Gala he said:

"A full Met Gala shift can last upwards of 10 hours. You can’t let exhaustion creep in; if you fade, your photos will begin to fade as well. It’s important to stay focused and to keep your head in the game.

"During those hours on the red carpet, I have a series of small windows of five to 10 seconds to capture the photos during different people’s arrivals. Therefore, you need to be quick and always alert."

Take a look at our guides to the best professional cameras, and the best telephoto lenses.

Wildscreen and Wildlife Photographer of the Year have joined forces and have launched WildPhotos 2024, a new one-day event packed with talks from world-leading nature photographers.

WildPhotos 2024 will feature keynote talks by renowned nature photographers Charlie Hamilton James and Thomas P. Peschak, lightning talks on all things wildlife photography, and panel discussions featuring leading wildlife and conservation photographers from all over the world.

This is an event to get first-hand experience from photographers at the top of their fields, from experiences shooting in challenging environments to advice on what makes the best camera for wildlife photography.

In his keynote talk titled 'Amazon, A Journey from The Andes to the Atlantic', headline speaker, marine biologist and National Geographic photographer Thomas P. Peschak will share his 396-day journey following the Amazon River throughout South America. Just a brief peek at his social media account is evidence enough that this talk will be filled with fantastic adventure and stunning images.

The second headliner is world-renowned National Geographic photographer, filmmaker, and author Charlie Hamilton James. He will showcase his latest project 'End Times', described as, "an exploration of the evolution from photojournalism into an artistic exploration of global environmental collapse and how we consume information about the natural world".

The two headline talks are just the tip of the iceberg as there will be a series of lightning talks throughout the day, that cover everything you could want to know about nature photography. The series of talks is broken down into four sections featuring multiple speakers giving 20-minute talks.

The sections include, 'Two Worlds' which looks at the experiences working with both stills and video, 'Under Our Feet' is an exploration into the often unloved smaller wildlife species, 'The Conservation Narrative' which will explore how conservation storytelling creates a visual narrative, with photography as evidence, and lastly, 'Water Worlds' exploring life under the surface.

CEO of Wildscreen Lucie Muir says, "As the home of natural history production, it’s fitting that WildPhotos will be coming to Bristol, bringing world-class inspiring photography to the city ahead of our internationally acclaimed Wildscreen Festival. It’s never been more important to highlight the beauty of the natural world and the danger it faces from the threats of climate change and biodiversity loss. We hope that delegates will find the images and discussions inspiring and that it will spark ideas that create positive change.”

Completing the program, and a valuable opportunity to put what you've learned throughout the day into practice is a panel discussion titled, How to Pitch Stories and Fund Photography.

The panel comprises industry professionals such as National Geographic Society Vice President for Storytelling Grants and Programs Rachael Strecher and Head of Content for WWF - UK, Britta Jaschinsk. Insights from organizations like this do not come around very often and are incredibly valuable in taking the next steps into a career in wildlife photography.

The event will be produced and hosted by Kathy Moran, current Jury Chair for the Natural History Museum and former National Geographic Deputy Director of Photography. She says, "I'm honored to be producing and hosting WildPhotos this year, particularly in this, the 60th anniversary of Wildlife Photographer of the Year and just ahead of the world-renowned Wildscreen Festival. I look forward to some lively discussions with some of the world’s most talented photographers working today".

This is an unbelievable lineup and a must-attend for any wildlife photography enthusiast! The amount of valuable advice and inspiration is unlike any other wildlife photography event I've ever seen, and it's coming directly from professionals at the very top of the industry.

The inaugural event will take place on October 13, 2024, in Bristol, UK, however, if you are unable to attend in person, the hybrid nature of the event enables viewers to attend online from anywhere in the world. For a full program schedule and further details on tickets can be found on the WildPhoto 2024 website.

You may also be interested in our guides to the best camera for wildlife photography, the best lenses for bird photography, and the best trail cameras.

There were many memorable moments at the 2024 Olympic Games in Paris, though arguably none more infamous than the performance of Australian breakdancer Rachael "Raygun" Gunn. 

Well, legendary light painter, Darren "Dariustwin" Pearson, has now immortalized her performance in the form of an incredible animated light painting, which you can see embedded below.

Dariustwin painted and photographed 44 individual images to create the animation, using his trusty Sony A7R V – with the exposure settings 60 secs, f/7.1, ISO800. 

Gunn has become a polarizing figure on the global stage. Her routine was universally ridiculed, coming dead last in Olympic breakdancing – which was making its debut at the Games, but will not be returning in 2028 (a decision made in 2022, which had nothing to do with anything in Paris). 

While she was championed by some for being a plucky overachiever, more sinister criticism has since been directed at the college professer (who holds a PhD in the cultural politics of breakdancing) for alleged foul play in being selected for the Olympic team – though this has since been debunked. 

Perhaps tactfully, Dariustwin did not make any personal comment about Gunn or her performance in his caption for the video when he posted it to Instagram and YouTube. 

As you might imagine, though, the comments sections were not nearly so tactful. But there were still some users who managed to praise the incredible photography while not getting nasty about Raygun. 

"Happy to see someone making art instead of making fun of her. I would hate to be in the public eye these days," wrote _photobird_ on Instagram.

"Why’s everyone gotta dog her to compliment the amazing artwork here?" asked mrsmaribethr. "Anyone loving life is the winner!"

Elsewhere, evotog.uk chimed in that "This is the content that the internet was invented for!!!" with melissalikesphotos agreeing, "Gold medal 🥇 for this one".

In case you're curious, last week Gunn made her first public comments on what happened in Paris and the firestorm that followed. You can check our her video below.

You might be interested in the best low-light cameras for trying your hand at light painting. If you want to take equipment cues from Dariustwin, check out the best Sony cameras along with the best Sony lenses.

The beauty of a sunrise has long been a source of inspiration for photographers worldwide – including 21-year-old Ben Pulletz, who has already won many international awards for his work. After discovering a passion for photography just five years ago, Ben has made it his mission to capture the magic of an early morning through his lens. 

“I believe in spending long hours researching locations, early mornings and a lot of dedication to capturing amazing pictures of nature – no giving up!” he says.

When Ben arrived at the location in Somerset, the first thing he noticed was the soft glow of the dawn sky. The sun had just begun to rise behind Glastonbury Tor and the warm light and golden hues were illuminating the landscape. “Just as the colours were starting to get vibrant, I saw the cows walking towards the gate, probably waiting for the farmer to arrive with some hay,” he says. 

Ben was attracted by these elements, which compelled him to capture the scene. “There are many pictures of Glastonbury Tor already out there, so I wanted something different from the usual sun behind the Tor,” he says. “The cows play a big part of the shot but the layering is what drew me in – the bulrushes in front of the mist and the early morning glow firing up the mist. All these elements make this shot come together.”

Despite the strong winds, Ben decided to take the shot handheld, leaning against a car to help avoid camera shake. “I didn’t want to miss that moment before the clouds in the distance had moved on,” he says. Ben captured multiple shots of the scene as the cows moved, ensuring he had an image with them ideally positioned in the frame.

Tech details

Camera: Canon EOS 5D Mark IV

Lens: Canon EF100-400mm f/4.5-5.6L IS II USM

Aperture: f/5

Shutter speed: 1/100 sec

ISO: 800

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Scarlett Page is one of the featured speakers at The Photography & Video Show next month, taking place March 16-19 at the NEC in Birmingham England.

For the first 15 years of her life as a music photographer, Scarlet Page succeeded in making her mark without, as she says, “using my dad’s name to get on.” So adept had she become at keeping the name of her famous father to herself, that the picture editor of The Sunday Times commissioned her to shoot him without making the family connection. 

That man is legendary Led Zeppelin guitarist and founder Jimmy Page. Scarlet has now chalked up nearly 30 years photographing rock stars, including her father’s contemporaries. Many feature in her book and exhibition Resonators, a collection of guitar heroes including Paul McCartney, Mark Knopfler, Peter Green, Brian May and Jeff Beck to name but a few. 

Naturally, I ask her if being the daughter of Jimmy Page has been a help or hindrance. Quickly, she answers: “I never went in there saying, ‘Oh, do you know who I am?’ It’s really not my thing. The only time that I did present myself as my dad’s daughter was when I was doing the Resonators project because it was
a way of introducing myself, and saying: ‘I’ve been a photographer for this long and, also, this is my father.' I shot him almost last in the project as I wanted to do everyone first.” 

In every other respect, Scarlet’s life as a photographer has followed the typical path of learning the craft the hard way, starting with a year as an assistant to Ross Halfin… 

This interview first appeared in N-Photo magazine. Scarlet is a headline speaker at The Photography & Video Show. You can find out about his talks at the Show website, and you can get 20% off tickets with our exclusive discount code.

You might be interested in the best Nikon cameras along with the best Nikon lenses – and particularly the best Nikon Z lenses designed for its mirrorless cameras. 

I recently rediscovered my 10-year-old Canon Powershot A2300 from back when I was a teenager. For years I have relied heavily on my camera phone for taking photos when at gigs and festivals (when I wasn’t attending as an official photographer) and although it might not deliver the same high-quality images as my workhorse camera, a Sony A7 III I have fallen in love with the images it produced - especially with a little bit of color grading in Lightroom. 

Earlier this year we posted about how crappy cameras from the past are back all thanks to Gen-Zers after that low-res, Y2K aesthetic. I admit, when I first found out about this new trend, I wasn’t quick to jump on it, I was too concerned with taking the best possible images I could even if that meant carrying around a heavier mirrorless camera. But this summer I had a complete change of heart, I didn’t want to rely on my phone to take pictures because the battery life on it is terrible and I didn’t want it running out of charge to be the reason I missed out on photo opportunities. 

• Check out the best compact cameras - fixed lens cameras packed with desirable, advanced features

This summer I attended Forwards Festival in Bristol and was lucky enough to catch one of my artists-of-the-moment Arlo Parks who is best known for her tracks Eugene, Caroline and Coca-Cola. Position just a few meters from the stage, I was in a prime position for capturing the artist on stage but rather than use my iPhone 11 which massively reduced the quality when zoomed in, I reached for my Canon Powershot A2300 which was released in February 2012.

Considering it’s now over a decade old, has a 16MP 1/23-inch CCD sensor and a 5x digital zoom (equivalent to 28-140mm in full frame terms), I was able to take some photos of Arlo Parks that I felt were worthy of sharing on my professional photography page (@hannahlisaphotography). I’m under no illusion the photos would have been cleaner, sharper, and better quality had I used a better camera but since “professional cameras” were on the list of banned items, I had to use what was available to me. 

Straight out of the camera, the pictures were nothing all that special, but after importing them into Lightroom, and laying around with the exposure settings, tone curves and color grading I was able to create a set of images that I deemed good enough to share. In some ways, the photos almost have a film-like aesthetic to them, partly down to how I edited them but also because they were slightly more grainy, not perfectly in focus (although still quite sharp), and had an imperfect, magical quality to them. 

Of course, I’m not about to completely toss my Sony A7 III to one side, when I have the option to shoot on that over my Canon Powershot I obviously will, but I have changed my tune when it comes to older digital cameras. I was dismissive and couldn’t understand why people would want to use a point-and-shoot camera when phone cameras are so good now - but since I don’t own the latest iPhone 15 Pro Max with its advanced 48MP sensor and insane zoom capabilities, my humble Canon Powershot certainly beats my iPhone 11. 

You might not have the flexibility of being able to shoot in RAW meaning you can't do much to change the exposure in post-processing (unless you want to crush the highlights and shadows) but you can apply simple color grades to add your own artistic imprint on them. The saying really is true - the best camera you have is the one you have on you. 

Also check out the best photo editing software and browse a range of subsciption and one-off payment options

Located in the Deep South of the United States, the state of Mississippi, also known as the ‘Magnolia State’, is rich in history, not least for being the birthplace of the Delta blues.

During the American Civil War, black soldiers reinvented former slavery songs and created the precursor of what we now know as ‘the blues’. This new music was inspired by a combination of musical cultures, where African-American elements were mixed with the instruments and scales of the country music of the time. This eclectic mix of cultures eventually led to the blues, a music genre that has inspired artists and movements all over the world.

But Mississippi isn’t just famous for the blues – it also has a long history of social justice movements and was the centre of the civil rights movement in the South. Fascinated by the Mississippi Delta region, French photographer Larry Niehues set himself the task of documenting this culture in all its facets. 

Though Niehues grew up in a small town in the south of France, his interest in US culture led him to publish his first book in 2019, Nothing Has Changed – Portraits of the US. As a follow-up, Niehues embarked on a journey with writer Brooks Gallo to produce Mississippi Dream (published by Lannoo Publishers), which captures life in the US state from a contemporary perspective.

His photographs include snippets of everyday life in the state – performances from blues legends at iconic clubs and juke joints but also Baptist traditions. These shots were taken during the Covid-19 pandemic in 2020 and 2021, offering nostalgic and surreal images in Niehues’s unmistakable style.

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It’s hard to believe that LA-based, Cincinatti-born photographer, Ave Pildas is 83 years old. Within a few seconds of our phone call, he prompts the switch to video so we can chat face-to-face. Living in LA, Ave is blessed with blue skies, sun, and "high's of 57°F" so while he sits happily in a hoodie and a cap, I'm wrapped in two jumpers and a blanket.

Ave has recently released his first documentary, Ave’s America, with ex-student, friend and filmmaker Patrick Taulére – which is what we're here to chat about. The documentary follows Ave on shoots in LA where he is still drawn to the quirky, colorful and non-conforming people that line the city streets some 50 years after arriving. From the touristy Hollywood Boulevard to the notorious Skid Row, an area synonymous with homelessness and poverty, Ave’s approach to people and taking a good photo is always driven by communication and understanding.

• These are the best cameras for street photography for capturing candid portraits, beautiful streets and the unexpected

Ave's photography career began in the jazz clubs of Cincinnati and Ohio, rather than the streets. It was here where he was first introduced to Eric Kloss, a blind saxophone player who not only taught Ave how to play [sax] over the phone but introduced him to the people who would kickstart his life as a photographer. 

With some understanding of the musicality of jazz and having built up a rapport with the venues, Ave, a self-confessed failed musician, started shooting the likes of Nina Simone, John Coltrane, Paul Desmond and Cannonball Adderley. 

Shooting in near darkness with moving musicians wasn’t always a success. “Sometimes it didn’t work and I wouldn’t get anything,” he recalls, but his method of pre-focusing and waiting until the musician came into the shot captured some of his most iconic early photos, many of which are featured in Ave’s America. Ave held onto his so-called failed negatives all this time and today's modern film scanners are able to reveal so much more than he could in a darkroom back then. 

When Ave landed in LA in the early 1970s, he was instantly drawn to the eccentric and unusual characters who fled to the city. Using a black and white Pentax 35mm SLR, a converted Zeiss or Leica lens (he can’t quite remember which) and a tripod, Ave would set up the shot and wait until the right people or person came into view. Sometimes people would walk straight through the shot, but other times, people would bend down to observe the camera creating beautiful unplanned, interactive portraits.

Much of Ave’s work takes the form of an ongoing series with several projects spanning 30 or 40 years. He describes one of his oldest series, Animal Antics, as “street photography but generally not with people,” where he explores the relationship between humans and animals in relationship to how we use them for clothing and food.

Throughout our interview, I notice how quick-witted and on-the-ball Ave is. Not that I expected anything less; the documentary made it clear enough that age isn’t a hindrance for him. Ave's responses are instant and full of detail, he keeps up with modern trends and crazes and I sense that part of the reason he’s held onto his youth is because of photography and the circles he finds himself in.

“I don't have very many friends my age and what I do have here is dying off. A lot of my students became colleagues so I have lots of friends who are 20 or 30 years younger than I am."

When I ask him what he has planned for the rest of the day he tells me he’s off to the “organic market to buy lettuces” and in the afternoon he’ll go to the gym – an activity he tries to do three times a week. Along with walking his two Dobermans, it’s clear to see why Ave’s mind, body and soul have remained in good health. 

Back when Ave first started taking photos on the streets, social media and mobile phones didn’t exist and people’s attitude to having their photographs taken was different. People didn’t shy away from a camera in the same way they do today, out of fear of an unflattering photo finding its way onto the internet. Not everyone feels so shy though, and many of Ave’s more recent photos include people playing up to the camera dressed in Halloween costumes and thriving on the attention.

Ave’s latest project is a documentation of Santa Monica Pier in California, a popular hotspot among buskers and street performers. “Some of them pay a fee to the city and others are just doing wild performances; they're the ones who are often chased off by police,” he tells me and I sense, that he is all for the rebellion. "I’ve realized it’ll probably take me a couple of years to get a good body of work” he continues, but considering the length of some of his other projects, that’s nothing to put Ave off. 

To have a career that’s lasted for more than sixty years and still have that passion to continue exploring, meeting new people and capturing new places is truly inspiring. Ave’s America is just a snapshot of the life of a photographer who has made a name for himself by being approachable, empathetic and completely non-judgemental of the people he’s photographing.

As we near the end of the call, Ave confesses that sometimes when he looks back on old photos he can’t understand why some didn’t make the cut. “I’ve forgotten what the criteria was now so sometimes I look at a photo I took 10, 20, or 30 years ago and think “oh that’s a good picture” so it gets another lease of life. 

There is no doubt Ave recognizes how lucky he is to be in this profession, but his success is well deserved. “I feel really blessed that I can continue to do what I do and I wish everybody could do that”.

You might also like these 100 quotes about photography by famous photographers. 

This morning, Abbey Road Studios in London, UK hosted an Amplify Music Photography Panel that included some very special guests. Hosted by former NME picture editor, Marian Paterson, the studio opened its doors to budding music fans, with a panel comprising of legendary music photographer Jill Furmanovsky, as well as Anaïs Gallagher, Isha Shah, Vicky Grout, and Joe Puxley.

Live-streamed on Youtube, the Amplify Music Photography Panel welcomed questions from both online and in-person spectators and discussed everything from shooting live shows to the importance of shoot preparation, using social media as a marketplace, and how fashion and music photography are beginning to blur lines. 

• See our recent interview with music photography icon Denis O'Regan

The panel sit in a row adjacent to the live audience at Abbey Road studios, legendary in its own right for being the most famous recording studio in the world! Jill Furmanovsky is on the far left, seated next to Anaïs, then Isha, Joe, Vicky and panel host, Marian. All fantastic music photographers and industry experts, the panel gave some unique perspectives on how they approach and navigate the rapidly changing industry and profession as a music photographer. 

In celebration of the studio's 91st Anniversary, Abbey Road Studios has now for a second year opened its doors to creatives for a free three-day Amplify festival, aimed to inspire the next generation of music industry artists, producers, and composers through a scheduled series of panel discussions, masterclasses and Q&A's as presented by some of the music industry’s leading names.

The Amplify Music Photography panel lasted well over an hour and a half, and several key snippets from the discussion with these sharp shooters can be found below, though we'll go into further detail on many statements and elements that particularly stood out to us throughout the panel and the best advice and insight from these experts that we feel really hits the nail on the head. 

Learn more about the panel

Planning and creativity

Jill Furmanovsky may have had one or two microphone faults during the panel, but that didn't stop her from providing a very informed perspective on how the music and photography industries have changed and evolved into the format they are today. "I've been on the journey from analog to digital, and I did embrace photoshop from the very beginning" she states. Jill is something of a legend, and expresses that becoming a professional music photographer has always been her passion, showing the panel her necklace that features an icon of both a camera and a guitar. 

Joe Puxley, on the other hand, is on the opposite end of the timeline, at just 21 years old and relatively new to the industry - presented with the Undiscovered Award at the recent Abbey Road Studios Music Photography Awards 2022. Joe says he's always found a lot of fantasy in music and recalls his love for working with artists like Arlo Parks who embrace his creative vision and can collaborate well together. 

"Some of my work will have a shoot plan for the entire day, but some of the best shots are at the end of the day when we scrap the planning and just be creative" he answers to a question on preparation, referring to the time that he nervously got the bus to his very first shoot with Parks, and they ended up snapping images in a phone booth as his initial shoot plan was scrapped. 

"There's a lot less preparation for live music vs studio work" shares editorial music photographer, Vicky Grout, expressing that while she shoots live music a lot less lately, the investment in getting to know and understand your subject in the studio is part of the art itself. "It's nice when an artist will permit you to get close to them", she says, "build a connection with the artist, and if you actually like their music it will come through in the imagery and if you're not passionate about what you're photographing then people can definitely tell".

Artist collaboration

The topic of creative vision, nerves, collaboration, and handling a difficult artist came up - to which digital music photographer and post-production expert Isha Shah weighed in that "I use a lot of prisms and experimental work, but if I'm working with a rapper, that's not their brand", she continues "the best thing is movement, getting them[the artist] to do small steps and then capture their essence". She also noted the positive impact of "gassing up" the artist, and giving them encouragement during shoots and extra support when modeling in the studio environment.

Joe also stated that "being strong in your ideas will make artists feel more confident in you and trust your vision, instead of just going along with whatever they want to do". He notes that when he first started out he was "obsessed with the sharpest and cleanest image" but now has a new perspective and understands that "we're trying to see the humanity and get the imperfections" when shooting a subject, and compares this to the Japanese art of Kintsugi, repairing broken vases with gold.

Continuing the topic of collaboration with an artist, music photographer, and analog film shooter Anaïs Gallagher, also the daughter of Oasis' Noel Gallagher, shared that "I like to capture people just making a cup of tea or in their natural environment...it's important to capture the moment as frankly as possible, and by lifting the veil".

She expands that "you're distilling who they are into one single image, as a human and an artist" making the point that "when an artist is writing an album, some of the first things they think about are their album covers, visualizing photography alongside their music" and that's why collaboration is so important.

Studio music portraiture

The word "passionate" was thrown around a lot during this segment, and Vicky explains that it's important to connect with an artist, and sometimes artists strangely like to be calmed by listening to their own music during studio shoots. It's okay for photographers themselves to be nervous during shoots, too, as Jill reiterates that not all music photographers have to be super outgoing. 

"I'm very much a fly on the wall and try to be discreet, but now and then it is important to come out of your comfort zone and try something completely different." Shares Jill, "things can go wrong, but sometimes being real and human by making mistakes actually eases the artist". 

She proceeds to share a funny story of putting vaseline around a filter to create an effect, "in the early years when I was shooting Pink Floyd, designer Storm Thorgerson was a great influence on my work, I had some vaseline that I put around the edge of a filter, but then I kept forgetting to take it off, and I'd left it on when shooting with The Police by accident."

Analog or digital?

When discussing the differences between analog and digital photography, a few of the panel members were divided on where they stand. Vicky shared that, "I started on analog, I had a 35mm point-and-shoot, and then I eventually started getting commissions where I had to turn around images on the same day". 

Isha, on the other hand, is a digital doyenne, confessing that "I use a lot of star filters and pro-mist filters, and in post-production I do double exposures, mirroring and super-imposing, I don't do film at all." She continues, "it's all about knowing what I do and adapting to that. I'm there for people who are very creative and want to see themselves from different angles."

Anaïs leans heavily toward the analog process of photography having grown up with it, explaining that "the first camera I got given was an analog as a gift when I was 14, I'm also someone who repels technology, it's something that I've had to learn, and I didn't think about shooting digital until I went to university."

"I think it's important to know as much as you can so that you can do as much as you can...I learn the most from watching other people and learning their process". 

Panel host Marian shared that as somebody who commissions photography, "it is usually digital" due to factors such as cost and turnaround as Vicky discussed. Marian explained that as a picture editor, there's a skill in picking the right photographer for the job, "you can usually tell what a band sounds like from looking at the shots." she says, and "when you think about your favorite artist or band you immediately have a photo in your head."

Shooting live music and choosing gear

Circling the conversation back to live music photography, an audience member asked the panel what their go-to gear is. "When on tour you have to pack smart, choosing the standard go-to lenses is really important...live music is so fast, so I always shoot with two cameras so that each camera has the lens ready", shared Isha.

"It's important to be prepared and pack batteries and equipment the night before...so many times I've forgotten an SD card and had to run to the shop and buy one" she admits. As for what she shoots with, Isha is team Canon, however, she recommends that new music photographers start out with a Sony A7III and cheap secondhand lenses from the likes of eBay and Wex. 

Joe says his favorite camera is a medium format Bronica ETR-S, though he occasionally uses Yongnuo 560 Mark II Speedlight flashes with wireless triggers that are, again, pretty cheap on eBay for a newcomer to the practice. 

Vicky weighed in that "I'll usually try and pack one or two lenses for a gig, one wide-angle and one cropped for the stage". Marian adds that having worked with the NME to organize tours and photographers, you can get backstage and AAA access if you ask for it, but make sure it's with plenty of time.

Anaïs very honestly admits that "I was never very good at live music photography, I shoot analog and use cameras that take a lot of care, I have a more meticulous mind that's not made for faster shooting". She also very candidly suggests that she would encourage a client to hire a photographer that could do a better job, stating the importance of "knowing your own limitations for your own benefit, and don't agree to do something you're not inspired by". 

Social media business

Talking about social media, the panel group all pretty much agree that whether we like it or not as photographers, it's the future of the industry. "I've been expanding my craft and teaching myself about 3d models" explains Isha, "I started my career on social media, and it's the tool to use, as local jobs will come up". 

Being heavily immersed in London's culture, Isha also delves into creative fields such as radio, events, podcasting, and videography - and by expanding her craft, Isha has set up her own creative networking hub called Root Creatives, where UK creators can collaborate on projects while networking and expanding their empire. 

The topic of fashion photography and TikTok also came up, and many believe that the two genres can now go hand-in-hand. Isha believes that "fashion is an investment into a musician's craft", and Vicky can't stress enough the importance of always hiring a stylist on set, as sometimes musicians can rock up in just a t-shirt.

Bands can also supposedly feel a little embarrassed in hiring a heavily overqualified photographer just to shoot a TikTok for them, but the reality is that it's what the labels want, and what social media currently favors.  

Please note that quotes used from speakers may not be entirely word-for-word and were compiled during super quick note-taking and observation from watching the panel live-streamed via Abbey Road's YouTube channel. 

This Music Photography Amplify panel from Abbey Road Studios was honestly a breath of fresh air to watch, and so nice to see a panel comprised of mostly female talent and hosts in an industry that has been criticized for being predominantly male-dominated.

 It's also fantastic to see an industry and relatively niche medium of photography come together in support and guidance by sharing tips and gear advice, as opposed to guarding the industry secrets against the competition.

The Abbey Road Studios Amplify events continue on November 12, 2022, where the event schedule and panel sessions can be found on the studio's website, starting from 10 am up until 6:15 via the YouTube live stream link above. 

You may also want to take a look at the best camera settings for live music photography, as well as 5 essential tips for editing live music photos, by expert Christie Goodwin, our Interview with Music photographer Jennifer McCord, and be sure to get your live music images ready for the Abbey Road Studios Music Photography Awards in 2023.  

Famous for his official work as the photographer for David Bowie, The Rolling Stones, Pink Floyd, The Who, Bob Marley, and Queen, Denis O'Regan is undoubtedly one of the world's best and most legendary music photographers.

Regan has had an unbelievable career, photographing not only rock legends but also world tours, Live Aid, the Concert For Diana, and was even appointed as the first-ever Artist In Residence at the Royal Albert Hall in 2021.

•  How to get started in live music photography

The Irish-born photographer will soon be turning 69 and, to celebrate, he has begun hosting an online exhibition that will last 69 days, live up until January 01 2023, and hopes to raise funds in the process for the Great Ormond Street Hospital (GOSH), of which the late Queen Elizabeth II was the patron. 

The online exhibition and sales campaign showcases nine of Regan's classic and most exemplary works and six previously unreleased and never-before-seen shots, totaling fifteen images that can be purchased as fine art giclée limited edition prints through Regan's London-based veteran gallerist, West Contemporary Editions. 

The exhibition will donate 10% of the income and sale price of each of the Project 69 photographs to GOSH, and West Contemporary Editions has also agreed to match this percentage for O’Regan’s work sold during this campaign period.

Each of the images on the exhibition site is currently priced at £1,440 ($1,667 / AU$2,580 approximately) at a quoted paper size of 16x20 and printed on Photo Rag 308gsm Fine Art Paper, but the price can go up to a whopping £9,000 ($10,416 / AU$16,111) at a print size of 40x60. Each print will also feature a signature and numbering, and include a certificate of authenticity.

A celebration of Denis O'Regan's career as he reaches his 69th birthday, the exhibition and project also symbolizes a retrospective lifetime of culturally significant works – as well as being a personal nod to David Bowie, a long-term O’Regan collaborator, who was aged 69 upon his untimely passing.

The year 1969 itself is additionally a significant one for music culture, being the year of Woodstock, the release of the studio album Let It Bleed by The Rolling Stones, and when Abbey Road by The Beatles was released.

I had the chance to have a quick Q&A with Denis all about the 69 Days project, what it means to be turning 69, his earlier days of shooting for the NME, and his best advice for newcomers to music photography and the daunting process of securing your first photo pass...

Do you believe that music photography as a practice has changed or evolved over the last say 20/30 years, from your own experience?

"Photography for me changed in 1989 when Photoshop first came out. It’s unfortunate that I hadn’t seen it coming – I wouldn’t have binned so many images, including thousands from the Bowie / Stones / Queen tours that might have been badly exposed or slightly out of focus. I was already using Apple Macs, which Photoshop was written for.

I’d used a Minolta, the first professional autofocus camera, during 1987 / 1988 and my first digital mission with Nikon was Paul McCartney's 1999 show at The Cavern in Liverpool. I was commissioned by Paul and had exclusive access. I uploaded color images late at night after the show, which featured the next morning on every UK newspaper’s front page. I did this by creating a mini-site from which images could be downloaded with a code. This must have been a record on more than one level.

I’ve shot digitally for the last 20 years and love its flexibility – any image can be color or black and white. Low light sensitivity opens up a whole new world totally inaccessible with film, and of course, it’s inexpensive due to reusable cards. My film 40 years ago cost me £1 an image to buy and process, along with a contact sheet. That was expensive for someone in their early twenties, but now I sell prints and books of those images for thousands."

Throughout your career, what has been the most challenging aspect of being a music photographer, and what did you learn from it?

"Access to artists was a challenge from day one because I had no business contacts or friends in the music business. My only access would have to be live shows until I had enough byline credits to secure photo passes. Working with music paper NME, especially during 1978, gave me huge access, both onstage and off.

I didn’t go to college, instead working in the city of London for a couple of years before punk came along. The main lesson that I learned is to know your goal, your destination – then you can take advantage of opportunities when they present themselves, as long as you recognize them as such. I loved to travel and take photographs. I was a fan of rock music, so I wanted to tour with bands. My ultimate goals were David Bowie, Queen, The Rolling Stones and Paul McCartney. 

My first big tour was eight weeks in Europe with The Stones, then eight months with David Bowie the following year. The other thing to recognize if you’re interested in working with a band or anyone you’ll spend a lot of time with, is when "a chat" is in fact a job interview. Bands assume your photography is up to scratch, but will you get along for long periods of time?"

What gear do you shoot with, and what is the one thing in your kit bag that you could not live without?

"I use a Nikon D5 / Nikon D6 and 'the zooms': 14-24mm f/2.8 fisheye, 24-70mm f/2.8, and 70-200mm f/2.8. I also have small specific lenses like the 50mm f/1.4. The 14-24mm is my most loved lens for close-action photography, often onstage with a stadium audience as the backdrop."

• You heard it here folks, the best lenses for music photography used by Denis O'Regan himself are the Nikon AF-S 14-24mm f/2.8, the Nikon AF-S 24-70mm f/2.8E ED VR, as well as the Nikon AF-S 70-200mm f/2.8E FL ED VR zoom lens, and a nifty Nikon AF-S 50mm f/1.4G ED prime lens.

How would you describe your experience and relationship when photographing David Bowie? 

"Wonderful. I was still in my twenties and expected "the enigma", someone who would keep me at arm’s length and let me know when I could take a picture. In fact, he was warm, engaging, and enthusiastic. Before the tour, I’d proposed to the producers that we publish a book, and David warmed to that idea, constantly suggesting moments that should be captured, and inviting me to outings and dinners so that I could vary the photographs from the usual backstage, stage, travel, hotel shots. 

Even so, it wasn’t until we traveled to Bangkok, Singapore and Hong Kong that we really spent time in interesting and inspirational places. It also ensured that I spent a lot of downtime with David."

When shooting live music in venues, have you ever had to abide by the ‘first three songs' policy before being granted access to all areas?

"Yes! The first instance of ‘first three numbers’ for me was Abba at Wembley Arena in 1977. The pit there was huge and the stage low. All the band would see was an array of photographers, so they imposed the restriction. Other bands then thought that would be the cool thing to do, and off it went. It also restricted the number of images in circulation, most of which would show the artist at their best at the opening of a show, not sweat-soaked 90 minutes later at the end. 

Plus all photographers would end up with a similar selection of photographs. Bands became aware that photographers syndicated these images worldwide. Germany and Japan were big markets with color music magazines that didn’t exist in the UK, which was ruled by black-and-white music papers. A lot of younger photographers today imagine the 'three song rule' was introduced a lot later. In fact, in the late Seventies, it was this very restriction that to me opened up the idea of working with bands, guaranteeing total access, better angles, and exclusive images. 

It also gave them approval and control over a huge library of exclusive content for syndication throughout the tour. I of course secured a huge archive of exclusive content. Before that, I traveled abroad to shoot shows so that my pictures could be differentiated, possibly with more access to the show. That worked well and was a direct stepping stone to touring, mainly brought about by the rule introduced over 40 years ago."

What was the process like in having to select only nine classic images that represent your extensive career as one of the world’s best music photographers? 

"Very difficult. It doesn’t even include punk, grunge or new romantics images, even though some of my favorites are Iggy Pop, Ramones, Billy Idol, The Clash and Blondie, and I toured the world with Duran Duran and Spandau Ballet. I also shot numerous Coachella and Download festivals, Glastonbury, Live Aid and The Concert For Diana, all as an official photographer."

Do you have any advice for newcomers to the field of music and tour photography, or those working in the music industry in general?

"Get out there and shoot! When I began there was no internet, mobile phones, or low-cost airlines. One trip to Stockholm to shoot one show would cost over £1,000 in travel and film, and this was 40 years ago. Knowing who was playing where or who represented them was a Sherlock Holmes exercise.  

So catch a plane to Iceland and photograph its incredible scenery or travel through Japan – an incredibly diverse country of mountains, temples and hi-tech cities. There could be a band playing and you might meet a suitable model. Who knows? If you have a passion, photograph it. There’s always a way. You then need to apply the business side of making it pay."

Finally, what does the upcoming exhibition and the symbolism of turning 69 mean to you as a creative? And how does it feel to be able to raise funds for the Great Ormond Street Hospital Children’s Charity, through the medium of photography?

"69 means getting old! But I don’t feel it. My son is only 16, and I’ve still got my hair, so I’m still having a lot of fun, but now I look back and produce limited edition books and prints from my archive and help my son to become a racing driver. I’ve also given hundreds of talks about my life and career. 

I always think of David Bowie of course, because he was 69 when we lost him, and his first big hit was 1969. Whenever possible I’ve worked for children’s charities or occasionally cancer, which took both my parents. My mother was only 47. I’m delighted and honored to be working with GOSH, whose work with children is of course legendary."

A big thank you to Denis for taking the time to speak with us, and if you can afford to do so then please consider purchasing a limited edition print from the Project 69 online global exhibition via West Contemporary Editions, and support an excellent charity in the process. And make sure to visit Denis' website for more information on his life and career.

• You may also want to take a look at the best camera settings for live music photography, as well as 5 essential tips for editing live music photos, by expert Christie Goodwin, Our Interview with Music photographer Jennifer McCord, and be sure to get your live music images ready for the Abbey Road Studios Music Photography Awards in 2023.  

Alternative R&B artist, producer, singer-songwriter, and guitarist for five-piece LA outfit; The Internet,  Steve Lacy yesterday issued a statement via Instagram in response to his seemingly odd antics after he was captured obliterating a fan's disposable camera on stage, after taking it from them and slamming it hard.

Before we blame Lacy for his controversial overreaction, it has been pointed out that the same disposable camera that he destroyed was allegedly thrown at him first, even hitting him, and several angles of crowd footage show that he didn't react lightly, taking the camera back from the fan and hitting it towards the floor. 

• These are the best disposable cameras on the market, or why not try a more eco-friendly Paper Camera instead?

The show at the Orpheum Theater in New Orleans on Monday night was part of Lacy's ongoing Give You The World tour across the states, soon heading to the UK/EU for dates in December 2022. In an Instagram post, Lacy shared that he isn't sorry at all and doesn't feel he owes anyone an apology, after stating "shoutout to the people not throwing disposable cameras at me" in the post. 

The artist has been filmed by many in the crowd walking off stage abruptly after throwing down the fan's camera, and as reported by Rolling Stone, he was meant to return for an encore of his tracks “C U Girl” and “Dark Red” as he had done at previous shows but did not this time around. 

Lacy states in his response on Instagram, "I don’t believe i owe anyone an apology- maybe i could've reacted better? sure. always. i’m a student of life. but i’m a real person with real feelings and real reactions. i’m not a product or a robot. i am human."

Evidential footage has emerged and been uploaded to Twitter by user @10031905fc, discovered by PetaPixel, that shows the artist actually being hit by the camera, which then falls off the stage and seemingly onto the floor for the fan to re-grab. This angle of the incident certainly makes his reaction and lack of remorse for the situation seem completely justifiable, and a lot less obnoxious.

Additional video footage from TikTok users shows the artist stating "Don’t throw shit on my f*cking stage. Please!”, before asking fans on the concert floor, “Can I see this camera?” and the consecutive incident of destroying the camera occurred.

Watch the video below of Lacy being hit by a camera

You could say that Lacy's fans have a pretty Bad Habit of acting disrespectfully, as is the title of his latest number-one hit Billboard song, and also the last track on the tour setlist before the encore that never arrived. 

In all fairness, considering that the fan threw a camera at him first, his anger and overall reactions are understandable, though as he stated in the post - could've been handled calmly without ending the show early. Being a disposable camera that he damaged, it's probably not that expensive to replace either. 

Some reports do however suggest that it was a phone, and not a disposable camera, that the artist took from the fan and smashed on stage. Although videos shared from within the crowd make it extremely difficult to tell.

Foremost a guitarist, singer, songwriter, and producer, the 24-year-old Steve Lacy (not to be confused with the late American jazz saxophonist) joined the R&B band The Internet back in 2014 as their guitarist, and the group has since become a highly sought-after collaborator across many genres.

Lacy while still a member of The Internet, has embarked on a very successful solo career as of late and has self-produced a debut EP, Steve Lacy's Demo in 2017, followed by two full-length studio albums Apollo XXI (2019), and the more recent album Gemini Rights (2022).

What do you think of Lacy's behavior? Have any similar experiences of having your gear obliterated by a musician on stage? Let us know!

You may also want to take a look at the best camera settings for live music photography, as well as 5 essential tips for editing live music photos.

A muse for several legendary rock bands and artists, photographer Tom Wright (born 1944) sadly passed away last month at the age of 78. He worked with the likes of The Rolling Stones, The Who, Rod Stewart, The Eagles and Elvis Costello among others during his early years as a road manager for The Who, where he was their official tour photographer.

Despite his extensive photography career, ammassing well beyond 250,000 images, Wright was unfortunately virtually unknown to the public and wider industry. Though Keith Richards of The Rolling Stones was known to have called Wright, "a f**king great photographer with a special touch."

• How to get started in live music photography, by top pro Christie Goodwin

The Who published a touching statement on their website honoring Wright, and detailing his life and impressive career as their friend, photographer, and manager, as well as noting the many ways he influenced the band musically. 

"One thing is certain, had I not met Tom Wright, The Who would never have become successful," wrote The Who's Pete Townshend in the foreword to Wright's 2007 memoir, Roadwork: Rock and Roll Turned Inside Out.

"We would have remained The Detours, a solid little pop band doing what hundreds of others were doing around the same time.” The book features a wealth of black-and-white photographs of life on the road touring in the United States.

It all began in the early Sixties, as Wright befriended Townshend when studying photography at Ealing College of Art in the UK. Townshend and his flatmate Richard Barnes were graphic design students at the college, whom Wright introduced to the likes of American blues, jazz, folk and R&B music comprising artists like Ray Charles, Lightning Hopkins, Joan Baez, Bo Diddley and Julie London.

Wright’s family moved to England when he was just 16 and, not long after meeting Townshend, Wright faced deportation from the UK having been busted for marijuana possession. 

Having to go back to America, he left his entire 350-piece "extraordinary and eclectic" (as The Who describe it) record collection in the hands of Townshend – who later credits Wright for helping him to develop his own individual and rhythmic style, which later defined The Who's unique sound and led them to become "the best live rock 'n' Roll band in the world" at one stage.

In 1967, Wright managed The Who's very first US tour. While working as an underwater photographer in Florida, he received a phone call from Townshend inviting him to the band's show. Wright was then asked by Townshend to be their road manager and touring photographer. His images from the early days in The Who’s career produced some of the most defining images of that time period.

Wright travelled with The Who for another two US tours in 1968, photographing them constantly, until he took on the prestigious job of being the manager of Russ Gibb's historic Grande Ballroom – a live music venue situated in Detroit, Michigan, where he worked for several years. Known as Detroit's Rock 'n' Roll Palace, the venue hosted bands such as Led Zeppelin, Pink Floyd, Eric Clapton, Cream and The Who.

Wright toured as a photographer over the next 35 years with the likes of Rod Stewart and The Faces, The Rolling Stones, The Eagles, The James Gang, Joe Walsh, Elvis Costello and many others, photographing not only the bands, but their crews and backstage antics documenting life on the road.

"Tom Wright is the Jack Kerouac of rock and roll photography," said Joe Walsh, guitarist of the Eagles, comparing Wright to the iconic American novelist and poet. Having produced a prolific body of photographic work, Wright captured musicians at the most pivotal points in their careers, documenting the history of rock music in the process.

"Wright wasn’t just another groupie taking snapshots behind the scenes to tell a cool story," said Larry Lawrence, a longtime friend and collaborator of Wright. "He played the muse, inspiring the creative genius of many rock icons. 

"When people discover Tom Wright and his images, it’s like finding a Van Gogh in the attic. He, no doubt, has one of the most fascinating unsung stories written during the evolution of classic rock." 

Wright developed deep and lifelong friendships with the musicians that he photographed and toured with, and in many ways his photography is unique in a hybrid perspective of being a photographer born in the United States but educated in England, witnessing the turmoil and musical conflicts from both countries during the eras of the Sixties, Seventies and Eighties. 

"Amid the whirlwind of touring, shows, girls, drugs, and mischief, Tom used his camera to capture extraordinary and profound moments of intimacy that no one else could or did," wrote Dr Jordan Zignego, a historian who focussed his dissertation on Wright and his photography, titled The Structure of Cultural Memory: The Photography of Tom Wright. 

"Tom's collection displays extraordinary detail and emotion – what can be captured when a photographer is embraced as a family member rather than just someone hired to take pictures."

After having made San Antonio, Texas, his home for many years, in 1993 Wright named the Dolph Briscoe Center for American History at the University of Austin Texas as the repository for his colossal archive of more than 250,000 photographic images, plus thousands of taped conversations and live recordings.

Patrick Markey, executive producer of Emmy Award-winning series Ozark, is said to be developing a documentary series about Tom Wright, having commented that Wright was a man who "lived deliberately and sometimes shaved recklessly close, but in the end, he had zero regrets – he lived life on his terms and would have had it no other way."

Wright is survived by three sisters and one grandchild, and mourned by many who knew him in the music industry. A big thank you to the Briscoe Center at the University of Texas at Austin, and the Markey Producer Group for supplying us with these images captured by Tom Wright. 

• You may also want to read our 5 essential tips for editing live music photos, or check out the latest Guns N' Roses photo exhibition , or maybe you need some advice on How to photograph live music in preparation for entering the next Abbey Road Studios' Music Photography Awards .

While Pride month 2022 celebrations may be coming to an end, many local Pride festivals are still ongoing and scheduled to continue well into mid July. 

Pride month is an important event for so many people, a confirmation that it's okay to be who you are. Anybody can attend Pride, regardless of who you love, and it's a great way to show your support and be an ally to loved ones who are part of this community.

 I recently attended my towns local Pride festival, the first time attending with my "proper" camera instead of just taking photos with my smartphone, and here's how the experience of  capturing the essence of Pride was for me, and some things I picked up along the way when capturing the rainbow festivities.

 • This is what contemporary queer photography looks like in 2022

The first unwritten rule of attending Pride is to be respectful. While Pride is for anybody and everybody to attend, regardless of your own personal preferences and identity, it began as a protest and is considered as a crucial safe space for those part of the LGBTQIA+ community and who situate under the queer umbrella. 

That's not to say that you can't have fun and let loose, but it's important to be mindful of those around you, ask consent before taking individual portraits, respect your areas of access, remember why Pride is important, and embrace the rainbows.

Ask before you photograph people

Let's get this one out of the way, as it's the most fundamental and important rule of photographing Pride events, to protect both your reputation as a photographer, as well as the privacy of event attendees. While there is no legal rule that you cannot take images of attendees at a public event (in the UK anyway), it's best practice to always obtain verbal consent from the individual you are photographing.

Many different groups of people attend Pride events, such as families, the elderly, drunk and tipsy celebrators, minors, teenagers, and small younger children – all of whom may not want their photo taken or publicly shared for reasons of safety, personal preference, and privacy.

It's a little different when photographing the performers at Pride, as when on a stage, you're usually aware and accepting of the fact that the crowd will be taking photos and likely recording your performance. 

Photographers are usually extremely welcome and encouraged by the artists, though if for any reason you are asked to stop taking photos of the performers, respect their wishes.

In the instances where an image was captured of someone candidly or they were snapped 'in the moment', it's best to show the image to the individual who is pictured afterwards, and ask if you may use the image, or if they would like you to delete it. 

If you're unsure of what you are allowed to photograph, perhaps look for a different subject, such as an animal, or capture photos of the back of someone's head or a side portrait, instead of their full face. 

I appreciate that this can be daunting for photographers who are a little shy or aren't the best at confrontation, but it's very important. Especially so with the nature of Pride events and the celebration of queer liberation and freedom. 

If you're snapping an image of the entire crowd, this can be a little more complicated and sometimes unachievable to obtain consent, in which case, just be cautious and delete content posted online or to social media if you are asked to.

You should also consider and be aware as a photographer that by sharing images and portraits from Pride events to your portfolio or anywhere online, without the consent of the subject, that you could potentially be "outing" someone, accidentally putting them at risk, or revealing private and personal information that they are not yet ready to have disclosed or do not want publicized via their Pride attendance.

 We recently reported how attendees of Toronto Pride were unhappy with the event's photo policy, and how some people felt they had their consent to be photographed taken away, even for minors, by intimidating and aggressively-worded event policy signage reminding them so. 

This prompted the question of whether photographers should even be allowed to take photographs at pride events.

This is a very tricky area to navigate, understandably, as usually ticketed events can be a free-for-all with no restrictions on who or what can be photographed. Often when purchasing tickets to an event, there's hidden small print specified in the terms and conditions that all attendees will be subject to event photography or filming, and that by attending, the guest is therefore unequivocally giving their consent to such. Despite this, still always strive to obtain verbal consent where possible to be safe. 

Be considerate, not entitled. 

This is similar to the point above on obtaining consent, and just as important, but you should ensure that you are considerate at all times of the other Pride attendees, and remind yourself why they (and you) are there – whether that's to celebrate for yourself, a loved one, to be an ally to the community or to show support in general. 

Unless you're shooting images for a media publication or commissioned by the pride event itself, you likely won't have any granted access to backstage areas, security spaces or photo pits. It's good to establish your area access with a media contact or event team manager before arriving at the event, or make yourself known as a photographer upon arrival.

If you are shooting Pride for your own portfolio, and not for the media, you should reside only in areas where you have permission to be from the event organizers, and do not try to breach security or attempt entry backstage, no matter how small or relaxed the event scale may seem. Talk to security and ask them politely if you could you enter the area to take some photos, respect their decision if they say no. 

Having your camera at pride does not grant you any special treatment, and the same unwritten rules as shooting concert photography apply at Pride events. general do's and don'ts include: do not wave your camera around or above your head, do be considerate of the crowd around you, especially as small and younger children are in attendance, and don't intentionally block anyone's view with your camera or try to position yourself further in front of them.

Embrace the rainbow colors

As expected, rainbows are everywhere during pride. Embrace the beautiful spectrum of colors from the different flags, and use this to your advantage by getting creative with your Pride celebratory images. Rainbow bokeh is the new replacement for those summer aesthetic fairy light photos.

By actively searching for elements of rainbow at Pride events, you'll be able to spot the small and intricate details much easier and perhaps notice things with your attention drawn that you usually would not. For example, the image below is of a 'love' temporary tattoo on the arm of a baby toddler. I spotted this as they were attempting to climb the rails behind me, and asked their mother if I could take a quick photo of their arm. 

Use a telephoto lens for photographing the stage

It's great to get those wider atmosphere shots of the crowd and stage when you're stood a little far back, but if you want to get those close-up shots of the performers on stage, especially at a smaller local Pride event, you may require the help from a telephoto lens. I took my Sony A7III camera with me to photograph Pride, and paired it with the Sony FE 90mm f/2.8 Macro G OSS, a medium telephoto macro lens. 

While this lens certainly isn't the biggest and best telephoto lens that money can buy, and isn't especially ideal for photographing a live musical performance, it worked exceptionally well for me at getting those sharp on-stage portraits with the full body of the performer in the shot. Check out the image gallery below to see some of my favorite shots from the Pride main stage.

I may have been a bit better off with the flexibility of using a 70-200mm or 24-70mm lens instead, to allow for me to zoom in and out as the performer, who in this case was drag queen Davina Decampo, danced her way around the main Pride stage in a high-energy show with kicks and splits. 

But I also think that having the fixed focal length of the 90mm helped me to concentrate more on composition and focus on anticipating where her next movements might be.

If you have tickets to your local Pride event and intend to bring your camera along, please bear in mind the topics discussed in this article such as consent, authorization and respect. But above all else, have a fantastic time!

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The Canadian city of Toronto celebrated its annual Pride 2022 event on 26 June after a two year hiatus courtesy of the Covid-19 pandemic. Thousands of excited attendees marched in the parade and celebrated Pride to honor the local and global LGBTQIA+ communities. 

Toronto Pride especially is recognized as being a safe space and one of the largest attended and organized gay pride festivals in the world. This year, a strict media policy was advertised in a not-so-safe and slightly daunting way to remind attendees that they are waiving their consent to be filmed and photographed. 

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Admittedly, this policy is a tricky one from all angles. Usually when attending large events, especially ones that are outdoors or requiring the purchase of a ticket, it's common for there to be some sort of fine print in the ticket terms and conditions (that pretty much nobody reads) suggesting that by attending or purchasing a ticket to said event, or simply by showing up, you are therefore agreeing to be filmed for promotional or otherwise media-related purposes. 

Sometimes this will include situations where you're photographed as part of a much larger crowd at a parade march, gig or festival, and might be harder to identify. This also happens very commonly at nightclubs and events that employ their own in-house photographer, and almost all indoor and outdoor events that the host and promoter may want advertorial images for to curate an online gallery. 

Whether or not the Toronto Pride filming notice is morally ethical regarding the nature of a Pride event is again, tricky, when the whole premise of the event and parade is for celebrating queer liberation, freedom and equality. I wholeheartedly understand the concerns and shock of those who saw the daunting and intense signage displayed at the Pride Parade... but is it as sinister as it's made to seem?

After having an extensive and thorough look on the official Toronto Pride website, I could not find any policy or terms and conditions (and believe me they have plenty!) that specify any photo restrictions at the event or implications that attendees are to be filmed and photographed. They do however have a section on 'Marketing and Logo Use' but that's the most relevant thing I could find. They do also have a Privacy Policy but this is mainly in reference to web users and personal data processing.

So, unless it is specified anywhere on the ticket or via hidden terms and conditions on the third-party site when purchasing tickets, are Toronto Pride in any position to be revoking the consent of its attendees? Quick disclaimer: I'm not a lawyer by any means and not based in the States, and I'm in no position to make legal accusations or assumptions on image usage and consent.

With that said, usually in most instances it is common courtesy for a photographer (amateur or not) to introduce themselves and ask before taking a photo of an individual, or at least show them the image afterwards to either obtain consent or delete it. Understandably, this can be difficult to do and not always possible when shooting images of a larger crowd or space that contains multiple people and faces. 

Street and event photography has always been a hard area to police, as aside from obtaining an individual's consent where possible, there is no crime committed by practicing street photography. Though, it is worth noting that some countries and locations have their own set of rules and policies where they do not permit this. 

The issue being brought forward here is that attendees of Pride should not be made to feel that their consent is being taken from them, especially given the nature of the event, and that an individual could possibly be "outed" unintentionally if an image of them attending the event is published without their knowledge or approval.

In addition, minors and their consent is a whole other branch of this debate. With one of the warning signs at Toronto Pride this year supposedly stating that "if you are under eighteen years of age, you represent that you have obtained your parent/guardian's consent to enter [the] area and be bound by the terms set forth herein."

Another aspect of this debate involves amateur photographers who choose to attend events such as Pride and take photographs for either portfolio purposes or on assignment for other media publications. These photographers likely don't mean any harm by being at pride and capturing street portraits, but it does infringe on consent if they aren't carrying out the best practices.

On the other hand, many Pride attendees will undoubtedly have their smartphone cameras with them and be capturing footage and images throughout the day; are they covered by the same protection or held accountable the same way as photographers and media at the event? 

There are clearly many factors to consider here, including the harsh and sinister language choices such as attendees relinquishing consent "for eternity" and warnings such as "Do not enter the area" with connotations of danger. Attendees rightfully upset by the signage clearly do not feel that the safe-space event was very safe at all. The message to photographers is please be considerate when photographing strangers at events, and always obtain consent. 

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Live music photographer Christie Goodwin has shot some of the world's biggest international music acts, including Paul McCartney, Celine Dion, Ed Sheeran, Taylor Swift, Nick Cave, Katy Perry and many, many more. 

Traditionally one of the hardest types of photography to break into, shooting live music is a test of stamina as well as being technically challenging. 

Modern digital cameras are better in low-light conditions than their predecessors, but what else do the top pros draw on to give them an edge in a competitive marketplace? 

We sat down with Christie as the summer music festival season gets under way, to find out how she captures the essence of the ever-changing scenes playing out in front of her, working in low light levels in a limited space with other photographers all out to bag the best shots they can. 

Also in this series, Christie shares her top tips for getting started in live music photography, the equipment to shoot it with, and her essential advice for editing live music images… 

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Leading live music photographer Christie Goodwin has been immortalizing the performances of some of the world’s biggest music acts for a decade and a half. 

It would probably be easier to list the artists that Christie hasn’t captured on stage, rather than the ones she has, but it’s a roster that includes legends like Paul McCartney, Celine Dion, Jeff Beck, Kylie Minogue and Nick Cave – alongside wildly popular younger megastars like Taylor Swift, Ed Sheeran, Katy Perry, Olly Murs and more. 

Now that the summer music festival season is back with a bang following an enforced Covid-19 hiatus, Christie is sharing some tips and insights for anyone looking to break into this challenging – but hugely rewarding – area of photography. 

We’ve already heard Christie’s advice for starting to shoot live music… now she’s going to take us through the kit you need to do it. 

Check back for more pointers from Christie, on how to photograph live music in low light, plus some essential advice on how she edits her captures of live music shows. 

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One of the world’s leading live music photographers, Christie Goodwin has captured a galaxy of global megastars, including Taylor Swift, Ed Sheeran, Katy Perry, Celine Dion and many, many more. 

She is also a judge for the world’s biggest photo competition, the Cewe Photo Awards, the fifth (2023) edition of which recently opened for entries. 

With the summer music festival season now in full swing the US, UK and around the world, we sat down with Christie to find out more about getting started in music photography and the challenges facing female photographers in a sector that has traditionally been dominated by men. 

Christie will also be sharing her expert insights on how to photograph live music in low light, the best camera gear for this kind of photography, and some essential advice for editing live music captures, so look out for updates on this story… 

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From the breathtaking Rhodope Mountains in Bulgaria to the stunning coast of Dhërmi in Albania, music festivals are as much about the location these days as they are the DJs and bands that provide the soundtrack. There is something so magical about festivals that immerse you in nature and transform otherwise sleepy towns into party paradises.

Journeying to remote locations isn’t the easy option, but it’s almost always the most rewarding. Nothing quite beats waking up to luscious green fields and dancing the day away in fairytale forests. There are so many incredible festivals that take place in all corners of the world, each with its own unique selling point, line up and the environment - the hardest bit is choosing which ones to attend.

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As an avid festival goer, my dream festivals combine breathtaking backdrops, dazzling decor, a mixture of music to get you moving and of course a crowd of people you instantly fall in love with. Festival season has only just started so it’s not to get tickets to what I think are some of the most scenic music festivals in the world… and don’t worry if it’s already sold out, there’s always next year.

So, in no particular order, these are the festivals that will make your jaw drop and have you constantly reaching for your camera, smartphone or disposable.

Meadows in the Mountains

Located in the Rhodope Mountains in Bulgaria, Meadows in the Mountains is by far one of the most magical festivals I’ve ever been to. It’s situated just above the rural village of Polkovnik Serafimovo which is around 2.5 hours from Plovdiv and 5 hours from Bulgaria's capital, Sofia. Everyone who attends this festival has made the mission by a mixture of plane, train, coach, shuttle or even by bike and the final leg of the journey has to be made on foot. 

Music plays pretty much 24 hours a day and sunrise is without a doubt one of the main highlights. Every morning at around 5 am, people gather at the Sunrise Stage to watch the sun as it peeks over the mountains opposite, bringing with it the excitement of a new day. I’ve never met as many salt-of-the-earth people as I did at Meadows and I’m already excited to return to those magical mountains. 

Burning Man

There might not be any greenery at Burning Man, but it’s breathtakingly beautiful in its own way. The festival's main focus is art, music, self-expression and self-reliance. It takes place in the Black Rock Desert in Nevada - a remote rugged area of treeless mountains and dried-up lakes. For many festival fanatics, Burning Man is the pinnacle of free-spiritedness – once on-site, there’s no telling who you might meet or what you may stumble upon. 

Burning Man is a festival run by the people for the people - for 7 days this extraordinary landscape is transformed into a bustling city and just like that, it’s gone without a trace. I’m yet to attend this extraordinary festival but it’s right near the top of my bucket list. 

Noisily

If you’re after a smaller festival a little closer to home Noisily, attracts the same type of crowd as Burning Man only tickets are less in demand and you don’t have to battle with desert sand storms. The festival takes place deep in Coney Woods, Leicester, UK and three main stages occupy stunning clearings surrounded by luscious trees. 

It’s very much a leave-no-trace festival and the people who attend are so environmentally conscious that most won’t even so much as someone dropping a cigarette butt. It’s famous for the 100 steps you have to descend to get into the main festival site but it’s worth every ounce of energy. Not only does the surrounding woodland provide some much-needed respite from the sun but it makes you feel grounded and in touch with nature from start to finish. 

Gottwood

Depending on where you’re traveling from, even the journey to Gottwood is stunning. I’ve been twice and both times I’ve opted to go the slightly longer route through Snowdonia so I can take in the stunning landscapes. This independent, boutique festival takes place on the island of Anglesey in very northwest Wales. 

The campsite is situated on the clifftop which makes for beautiful sunsets while the festival itself takes over the grounds of Carreglwyd Estate. It combines beautiful woodland, lush meadows and a massive lake (though swimming is not permitted) however there is a beach close by that you can sneak off to if you can find the secret path. 

Boom

If you’re a fan of psytrance, chances are you’ve already been or at least have Boom on your list. The biennial, psychedelic and sustainable festival is somewhat of a pilgrimage - it runs in sync with the full moon and describes itself as a transformational, multidisciplinary festival. It takes place in Idanha A Nova, Portugal - an area surrounded by trees and a very inviting lake that is perfect for cooling off in. 

Not only is the festival in an area of natural beauty but the decor itself is second to none. Architects, artists, lightning wizards and 3D mappers work together to transform the Dance Temple ( the festival's main stage) into a dazzling spectacle for the senses combining lasers, fractals and mandala style patterns.

Kala

This relatively new festival takes place on the dramatic coastline in Dhermi in Albania. By day you can dance at open air, beachside stages, hop on an excursion to explore the unspoilt surroundings or chill out on the sandy white beaches. This intimate, accessible festival brings together tourists and locals alike who are looking for a different festival experience in the Alvanian riviera, If you’re after a beach holiday and a music festival all wrapped into one, look no further than Kala. 

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Would Pennie Smith have managed to capture the iconic shot of Paul Simonon smashing his bass guitar, that later became The Clash's album cover for London Calling, had she been escorted out of the pit after the third song?

Our perception of iconic musical legends is determined in part by how they were captured during that time period, and it's rare to find such a raw image resembling this energy in today's press, with musicians arguably behaving better on stage and the "first three, no flash" policy adding restrictions to what can be captured.

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Contemporary debates in the field of concert and live music photography have been circulating for quite some time and I think we need to address the industry standard rule that prohibits photographers from using flash and shooting after the first three songs of an artist's setlist. I'd like to start by saying that I think the 'no flash' part of the rule is completely understandable, and I agree that it should not be tolerated. 

Stage lights can be distracting enough for a performer without the added blinding from an unexpected camera flash, and if we're being honest, it really isn't necessary if your camera performs well in low-light or has an extensive ISO range. With the exception of film cameras and granted permissions, you should never be using flash at a gig, especially if you're shooting from the photo pit. 

With that cleared up, I think it's important to note the origins of the first three, no flash policy and how it came into being. In a 2009 interview with Chicago-based music photographer, Paul Natkin, he suggests that It started in the 80's. "Bruce [Springsteen] would go up on stage, and there would be 50 photographers, all shooting flashes in his face...he walked off stage one night and said, 'we have to do something about this'".

Paul continues, "somebody said, 'why not just let them shoot the first fifteen minutes?'...at a normal rock show, a song is about five minutes. Somebody said, let's just let them shoot the first three songs. So it started with him and people in that era. It was also that MTV started around that time, and everybody wanted to look perfect, the way they looked in their videos."

One thing I found particularly interesting about this interview with Natkin was when he shared an anecdote of a Chicago band, Jesus Lizard, who once asked him “Why is it that as soon as our show starts getting really good, all of the photographers pack up their stuff and leave?” giving Natkin the realization that most bands aren’t aware of the three-song rule and, in fact, it’s up to the band and not the venue to decide how long photographers are permitted to shoot for.

 This led to Natkin explaining the policy to Jesus Lizard who, following the conversation with Natkin, permitted photographers to shoot their entire set at Lollapalooza during the 90s that resulted in a sunset clad photo of them crowd-surfing that made the cover of the New York Times. 

It could be argued that the rule also exists as a result of music mags like New Musical Express (NME), who during the 80s cared so little for the reputation of a musician that it would deliberately select pictures of rock royalty photographed with their eyes closed or tripping over for its cover pages, as told in The History of the NME, a fantastic book by Pat Long. 

Today’s press certainly know better than to feature unflattering images or start an online twitter feud with a musician, and are aware of how to protect themselves from being politically sued for defamation. So we've now established how this rule came into existence, but why does it still exist in today's industry? Or at least why has it not been updated and still retain outdated measures set in place during the 80s?

 I had always shot from within the crowd when I first started out as a music photographer, granted I was only 14 years old and finding my feet, but it wasn’t until moving to Brighton and beginning to acquire photo passes that I was being abruptly escorted out of the photo pit midway through shooting a band at Concorde 2, and I didn't understand why. The more gigs I shot, the more I began to question the necessity of this policy, the main issue for me as a slow shooter being the lack of time you’re provided to capture the “ultimate” shot.

Enforcement of the first three, no flash photography policy can be dependent upon venue size as well as press and media requests made by the artist and their PR. Many larger bands now employ their own tour photographers with access all areas to shoot each show and backstage portraits, understandably revoking the need for press photographers if a band has their own photographer employed.

While studying Music Journalism at uni, I conducted action and survey research that proved when in smaller local venues, around 8/10 people had no idea that the first three, no flash policy existed. All venue managers, promoters and security I spoke with were aware that some sort of permission was granted for me to have my camera at the show, however the idea of only being allowed to shoot three of the songs was baffling and unheard of to them. 

On the flip side, there are a number of photographers who believe that if you can’t capture the images you need in the first three songs of a setlist, then you shouldn’t be in the business. A fair argument, though, the first three songs from my own experience can be the dullest and result in the most boring images, especially in smaller venues as the band begins to warm up. This is dependant too of course on the production scale of the show and lighting performances.

With larger arena shows, the best shots you capture will likely be towards the end of the night when the fancy pyrotechnics and confetti cannons emerge, with punk bands really getting into the swing of things with jumps and water spits into the crowd.

It's worth noting that most venues do allow photographers to continue shooting from the crowd after leaving the pit to get those wider "atmosphere shots", though I often felt awkward re-entering the busy crowd and having to bother people by navigating through them to the perfect spot, while also protecting my gear from airborne beer. 

The other side of this debate is that the three song deadline allows photographers on commission to relax and enjoy the rest of the show at their own leisure, without pressure of having to shoot an entire show or setlist. While I can definitely understand the benefit of this, I think ideally a photographer should be allowed to choose if they stay or if they go (pardon The Clash pun) and have options to return to the pit at any time throughout the show to keep trying for the winning shot.

 I think there needs to be a revision of the first three, no flash policy at live events, not necessarily revoking the rule, but adjusting it to benefit both parties in a more trusted time of press photography. There are certainly things to consider such as the photo pit space itself, as during shows in heavier music genres security are often required to lift crowd-surfers over the pit barrier, a clearer space with no photographers in the pit constantly would surely benefit keeping the crowd safe. 

I'm no expert, but having a photographer choose their own three songs throughout the set may be a better compromise, able to shoot both the beginning and the end of a show, with only one or two photographers shooting per song, or maybe having a song (or multiples) allocated to each photographer that they may shoot during.

More clarity and attention to the rule is definitely a must, making bands aware that they have the power to allow photographers to stay for the full set, as well as making photographers (and smartphone crowd shooters) aware of the common courtesy to not use flash or be a hindrance to others. 

What do you think of this policy? Had you heard of it? Let us know by commenting on our social feeds under the article. 

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Never before seen photos of three famous artists have gone up for sale at Bonham’s auction house. In total, 16 candid photos of the artist Georgia O’Keefe, photographer Alfred Stieglitz and writer William Faulker are expecting to bring in $20,000 - $30,000 if sold as a set.

The photographer behind these gelatin silver contact prints is unknown but considering where and when they were taken it’s likely they were good friends with the trio. Gelatin silver print is a monochrome imaging process that has been around since the 1970s. It works due to the light sensitivity of silver halides and can be used for contact printing and enlarging.

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A specialist at Bonham’s said, "While the photographer of these remarkable snapshots of Alfred Stieglitz, Georgia O'Keeffe and William Faulkner relaxing at their country house at Lake George is unknown, he or she is clearly part of their intimate circle of friends or possibly a family member. The set is believed to be one of only two known groups - the other (and negatives) believed to be in the collection of Yale University."

Unseen photos of the Circle of Steiglitz

Use the left/right arrows to cycle through this gallery of images.

This group of artists was known as the Stieglitz Circle but each had their own talent. While Georgia O’Keefe made a name for herself through colorful, abstract paintings of flowers and skyscrapers, Alfred Stieglitz was a successful photographer who made it his life’s mission to make photography an accepted art form. Writer William Faulker who is best known for his short stories and novels set in the fictional  Yoknapatawpha County also joined the couple at their Lake Georgia home. 

Together, these three artists made a huge impact on the American art scene during the 20th century, Georgia O’Keefe was even coined the “Mother of American Modernism”. The series of 16 portraits are candid, touching moments offering a view into the private lives of O’Keefe, Steiglitz and Faulkner, offering a different perspective than the lives they chose to put in the public eye. 

To find out more information on how to bid, head to Bonham's website.

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Back in March 2020, I was prepping to leave on tour for the year – I was a tour manager for a number of acts around the world. We all know what happened next, and how that impacted an industry that relies on travel and mass gatherings. 

Fast forward a few months: after lots of cycling and tidying my flat, I decided that making banana bread wasn’t for me. So I took my Pentax K-S2 out of a drawer. I had bought the camera a few years previously, with the intention of learning how to shoot then taking it on tour. However, it mostly stayed on the bus. 

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I began studying the camera then moved onto Lightroom and Photoshop, before researching master painters, color theory, composition and lighting. That, coupled with practicing my photography on everything from people (when restrictions allowed) to products, landscapes and night street scenes, led to my first exhibition, in London about a year later. 

I continue to shoot everything from properties to products, and from portraits to event parties, using techniques from one discipline and carrying them across to another.

Top tips for shooting live music

1) Shooting in low light

Get to know your camera. Know how high you are prepared to take your ISO settings before it starts to affect the images. Live music lighting can change rapidly, so consider stopping down a few stops with exposure compensation – but leave yourself with a stop on the aperture so that you can close it down if you need more depth in a shot.

2) Using telephoto lenses at gigs

I don’t believe that gear alone makes the picture, but having the right kit can assist in getting the best picture possible. I now use two Pentax K-1s for a gig, with a 15-30mm lens on one and a 70-200mm on the other. That, plus moving my feet, gives me a good range of focal lengths. Depending on the size of the space and the length of time I have, I may also grab my 24-70mm as well as, or instead of, the 15-30mm. 

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3) Getting crisp shots

In order to get the sharpest image possible at the long end, you want to keep your shutter speed as close to your focal length as possible. Select your focus point, lock onto your subject’s eye and learn to anticipate the artist’s movements. Pay attention to the edges of the frame, too, trying not to crop out guitar heads and human elbows.

Nigel’s advice for shooting live music

My grandfather’s camera started me off on my photography journey, and lockdown gave me the opportunity to practise. Initially putting pictures on Instagram was fun and I received some positive feedback, which led me to shoot a few events as an assistant. I always wanted to do portraiture and products, as that’s what I found most appealing.

Once live music events returned a bit, I went to a few shows, took my camera and snapped a few pictures that were used by the venue and record label. I decided that I might be able to combine my two worlds and contacted a few musician mates, asking if I could shoot their shows. I then spent some time adapting the studio and night skills I had learned, and applied them to live music.

Capturing the moment

Discovering how the old masters’ chiaroscuro approach applies to my style of photography was a turning point: most of my imagery has a dark and moody vibe to it, with just pockets of light, and it certainly works in a music setting. I’ve been lucky enough to shoot some great shows with fantastic lighting designers. Having seen thousands of shows over the years helps me to anticipate the artists’ movements. 

I don’t have the newest, fanciest cameras but some of the most iconic photographs were shot on film, so I try to shoot in the same vein. I try to anticipate the shot I want to take before I press the shutter, and read the stage to see where and when it might occur. I will fire off three or four shots just in case my focus slips.

For more of Nigel's work see his Instagram feed.

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Northern Irish band Snow Patrol and I started our careers at a similar time and my early pictures of them go back to 2002 at a music festival in Sheffield, when I was still shooting on film. Since then I’ve shot them three or four times, mostly in arena-sized venues but also, once, an intimate acoustic set in the local Forum Café Bar. Wherever they are, and however big the audience, they have a way of connecting with people that’s really direct and down to earth.

I’d been talking to Nikon about my work, and was interested to see how the Nikon Z6 would perform in a live music and broadcast context, where the virtually silent shutter could be a benefit. They suggested I trial the camera for them, and with the Snow Patrol 'Wildness' tour coming to town I thought it’d be a great opportunity. Not only are they a brilliant band, but the light shows are amazing. 

The band were also keen to get some decent shots from the back of the Arena for the last three songs of the main set. So I was basically given freedom to roam. It’s great to shoot the entire gig and venue – even when you’re on a commission for Q magazine you don’t always get that. 

The timing was tight – the camera arrived a few hours before the gig was due to kick off. The first thing I noticed was the weight – it’s much lighter than my current favorite Nikon D5, and that proved be a real bonus for shooting over the course of a whole night. Fortunately, everything on the camera layout was pretty simple. 

It’s the pit

The arena was packed and there was an incredible atmosphere. As always, I started in the pit where the aim is to get decent shots of band members, including instrument changes. Sadly, drummer Johnny Quinn was so far back I could only just see the top of his head – he would have to wait. 

I worked flexibly to shoot everything on both cameras, adjusting the settings almost on autopilot as the stage lighting shifted. Frontman Gary Lightbody is fairly chatty between songs, which gives you time for close shots. He always has stories of the day to share. This time he’d forgotten his pass before the gig and security wouldn’t give him stage-side access to watch the support. “When I go home, my mates say: ‘what’s it like being famous?’ And I tell them I don’t know!” 

I moved up onto the balcony and in the centre there’s a platform that gives you a perfect place to shoot those whole-of-stage pictures. Snow Patrol have two camera ops shooting continuously to deliver a seamless live feed projection on stage. This, combined with the strobes, delivers a really rich image full of light and colour. The aim is always to have as little to do as possible in post-production, and these shots are pretty much straight from the camera, with just a bit of colour tweaking to even out the skin tones.

As the gig moved towards the end of the main set, I pulled back the zoom, and you get the illusion that I’m really in amongst the audience, now completely immersed in that unique bubble experience, where the outside world has ceased to exist.

Of course, I stayed to the end and the crowd-pleasing classic Just Say Yes rung out before I headed home to download the pictures. Comparing the two outputs, I was really happy with the shots from both the D5 and the Z6. If I had to pick a winner in terms of image quality I’d still have to pick the D5, but the weight of the Z6 makes it an attractive option. On top of that, in certain circumstances that all-important silent shutter will definitely give it the edge.

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Sky Arts is to air a six-part series on rock and roll photography – showing the work, techniques and history of life of the top music photographers. Aired over six one-hour episodes on Freeview, the program features interviews with over 50 of the world’s best-known music photographers –  alongside musicians, gallerists, music journalists and social commentators.

Produced by Cinefromage & Eagle Rock Films each episode of of Icon: Music Through The Lens  examines an individual facet of the genre in detail from life on the road, the evolution of the album cover, the acceptance of music photography as fine art, the impact of the digital revolution and more. 

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Acclaimed music director Dick Carruthers, who has worked with a vast range of artists including The Rolling Stones, Led Zeppelin, Beyonce, and Black Sabbath, has teamed up with legendary music photographer Gered Mankowitz and photographic agent Andy Saunders to take an intimate look at the medium using iconic images that defined musical genres and eras.

Some of the photographers interviewed alongside Gered Mankowitz about their work in music include: Jill Furmanovsky, Kevin Westenberg, Terry O’Neill, Kevin Cummins, Bob Gruen, Rachel Wright, Deborah Feingold ,  Neal Preston, Roger Sargent, Dean Chalkley, Mick Rock, Danny Clinch and Rankin to name but a few. There is also a contribution from Baron Wolman (best known for his images of Jimi Hendrix), who sadly passed away earlier this week.

Sharing eye-opening insights from a musician’s viewpoint are Alice Cooper, Craig David, Nick Mason from Pink Floyd, Glen Matlock of the Sex Pistols, Ziggy Marley, Metallica's Lars Ulrich, and Dizzee Rascal and many others.

The photographs themselves however are the real stars of the show, with thousands of astounding images illustrating this story throughout, complemented by specially commissioned music and classic tracks. 

Gered Mankowitz, photographer, series curator and executive producer says, “Icon: Music Through The Lens is an important moment for music photography providing context, focus and understanding of the impact it has made on popular music over many decades. Being able to talk in real depth to such a wide range of amazing photographers and to hear their experiences and insights has been an incredible privilege and I am very proud that we have now captured the definitive story of their amazing work and contribution.”

The series premieres on the free-to-air Sky Arts TV channel today 6 November at 10pm (GMT) – with all six episodes being available to watch now through the Sky TV app (check out the full details of how to watch) 

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Best camera settings for live music

Music photography is one of the most challenging genres for photographers to capture. Not only do you have to work with difficult lighting conditions, but you also have to be able to encapsulate the unique sound of an artist into a still image. However, music photographer Jennifer McCord has perfected the art of beautifully realized music imagery.

Jennifer is one of 22 women who are partnered with the Women Who Photo & Film campaign, which was originally launched by The Photography Show & The Video Show in 2018. This year, Jennifer and the other Women Who Photo & Film ambassadors will be hosting an informal networking session on Sunday 20 September from 17:00 BST onwards. 

• Read more: Register FREE for The Photography Show & The Video Show Virtual Festival

With a portfolio boasting a glut of live music photos and portraits of well-known musicians, Jennifer is an accomplished music photographer. We sat down with her to ask her about her career so far and what being a part of Women Who Photo & Film means to her.

01. Did you always want to be a photographer?

No, for a long time I thought I'd become a writer. However, I was always taking photos and looking at photographers online. I think my love of writing was always about documenting and making sense of the world around me, which in turn influenced the way I shot photos as well. Photography also just felt a lot more like an innate talent to me, so when it really started to dawn on me that you could work as a photographer, I knew that was what I wanted.

02. What's the one piece of advice you wish you'd been given when you were starting out?

I think I would tell myself not to worry about what I 'should' be doing and to just be myself. If people don't want to work with you then they're not your people – and you probably wouldn't have had a great working relationship with them anyway. I used to get turned down for work a lot because I was a woman, or I'd be offered less money than my male counterparts despite having a better portfolio.

While this was incredibly frustrating and could wear me down, now I always think that I wouldn't want to work with someone who doesn't value me and what I bring to the table anyway.

03. What do you shoot with? And do you use presets?

I currently shoot with a Nikon D750 and a Nikon D850. I also have my old and trusty D810, thought it's a little worse-for-wear now. I actually tried to trade it in when I got my D850 and no one would take it! However, it's really useful to have it at home, as I can just pick it up as and when I need it. 

I also shoot on film, using a variety of cameras including Polaroids, a Hasselblad 50CM and a little 35mm Nikon. My go-to lighting is either a Nikon flash used on-camera, or my Profoto B2 lights with umbrellas. 

I actually use my own presets. Some of them are made from scratch and others were originally based on VSCO presets – although they've been adjusted so much that they're pretty much unrecognizable from their original state.

04. What is it like following an artist on tour?

Intense and exhausting, but also exciting and crazy fun. You're often one of the first people up and one of the last to go to bed, so it's very long hours. However, being in that environment of shooting all day every day really allows you to grow. Equally, shooting the same show every night means you can be more creative and try things you wouldn't ordinarily do so you can keep making unique work.

05. What does being an ambassador for Women Who Photo & Film at The Photography Show mean to you?

It's such a great initiative and it's a privilege to be along so many talented women. Even though it's 2020 and some large strides have been made, we still have a long way to go in fighting for more diversity and equality in the photography industry. I would love to see even more women of color and transgender/ non-binary people become ambassadors and be given platforms across the wider photographic sphere. 

Register FREE for The Photography Show & The Video Show Virtual Festival

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It may not be the official Twin Peaks Day, as recognized by the state of Washington (which falls on 28 February, when Special Agent Dale Cooper arrived in the fictional titular town), but today nonetheless marks the 30th anniversary of the seminal, surreal television series.

Twin Peaks premiered on 08 April 1990, and in its turbulent two seasons on the ABC network transformed serialized television to such an extent that it became a genuine pop culture and cult phenomenon. Indeed, such was its cultural impact that the show was resurrected in 2017 for a Limited Event Series on Showtime. 

Its tumultuous history is perhaps encapsulated no better than in its original finale. When filming the final episode of season two – at which point the show had been effectively dumped by ABC – creator David Lynch essentially threw out the shooting script and what ensued was an almost stream-of-consciousness showcase of surreality. 

The cast and crew worked all night on the nightmarish cliffhanger, set in Twin Peaks' almost purgatorial Black Lodge, filled with backwards-talking entities, sinister doppelgangers, Jimmy Scott performing a harrowing jazz ballad, dead bodies that speak, and a battle for Special Agent Dale Cooper's soul – which he lost. 

Knowing that the show would not be renewed by ABC, Lynch unleashed every ounce of his creativity that he felt had been shackled by the network – and, remarkably, sewed the seed for the show's return 26 years later with Laura Palmer's immortal line, " "I will see you again in 25 years" (he was off by a year, but we'll forgive him!).

With the show in its death throes, the in-house photographer had quit the production, leaving no-one to capture any further stills from the set. Lynch allowed actor Richard Beymer, who played hotelier Benjamin Horne, to bring his camera on set for the final days of filming – and he captured some incredible images that truly capture the tone of the dying days of this remarkable show. 

We highly recommend that you take a look at the galleries of Beymer's photographs on both the Welcome to Twin Peaks fansite and the In the Trees blog, where these beautiful black and white stills tell the incredible story behind the story. 

Happy birthday, Twin Peaks. 

Order Twin Peaks: The Television Collection at Amazon US
Order Twin Peaks: The Television Collection at Amazon UK

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Ross Halfin has worked with every major musician and band of the last four decades, creating some of the most memorable music photographs of all time. His archive is literally an A-Z of rock, from AC/DC, The Rolling Stones, Paul McCartney, Guns & Roses, The Who, Led Zeppelin and ZZ Top. 

Ross discusses his enormous catalogue, changes in music photography, his unique access and relationships with his subjects, plus his ongoing passion for travel photography on The Photography Show's Super Stage, on Monday 16 March at 1:15pm. 

Tickets for the Super Stage speakers are available now for £12 each. The talks will be held in the Toute Suite, just outside the event's main hall. And if you're wondering what else is on, here's everything you need to know about The Photography Show. 

In the meantime, find out more about Ross and his work as he answers five quick questions ahead of his Super Stage appearance… 

Five quick questions with Ross Halfin    

1. How did you go from art college student to professional photographer? 

I grew up in Wimbledon Chase and the Wimbledon School of Art had an annexe there. I always wanted to go to college and it was a big thing for me to go to art college. But when I went there in 1975, it was just so pretentious. You know? They thought I was this ignorant philistine, but it totally deluded me and after wanting to go there so much, and finding the whole place so up its own arse, I absolutely hated it!

I was a big Who fan – I used to follow The Who around and they were doing three nights at Wembley. I queued up for 11 hours to get tickets and took a camera to the show. Before the show, I was called in to see the head of figure drawing, who was from the Royal Society of Portrait Painters, and he tried to scold me in front of the class by saying, ‘What is more important, this stupid little pop group, or your drawing class?’ and I said, ‘The Who!’ because you’ve got to remember that, when you’re 16, that is important. People say, ‘What bands do you like?’ I couldn’t tell you now, but I could tell you what I liked when I was 16, because when you’re 16 it really meant something to you.

I used to look at Who pictures and say, ‘I could do better than that’, which I probably couldn’t, but that was the arrogance of being young. I ended up being The Who’s photographer. I know them now, I’m friendly with Townshend and Daltrey, but in those days you could just walk in and do what you wanted. 

2. Who did you shoot for back then? 

There were three papers at the time: Sounds, NME and Melody Maker – I ended up liking bands that Sounds covered more, like Rush and Aerosmith when they came over. There was a guy at Sounds who wanted to start a magazine, he wanted to call it Kerrang! Like the sound of a clanging guitar. This was 1980 and he came up to me and he said, ‘Who have you shot in colour?’ and I said, ‘I just shot AC/DC,’ which was the first show for the Back in Black tour at Hammersmith. He said, ‘That’ll do,’ and that became the first cover for the magazine. Then I realized by doing Kerrang!, because of the union rules, where you got paid £12 for a black and white, they had to pay you £30 if it was in colour. So, I started to learn and I thought, ‘right, I’ll become this colour photographer in that case!’  

3. Do you still have a preference for black and white?

I only shoot black and white on film. I don’t use digital for black and white – I don’t think it translates well enough. I think black and white stands the test of time better. You look at something from the ’60s, say, and it doesn’t translate well in colour, unless it’s some sort of super-Kodachrome, but it translates well in black and white! At least, I think it does. 

But you can’t beat digital colour now. If people say colour looks better in film, that’s rubbish. You can shoot in nearly no light with digital. Before, everything was underexposed. I hugely resisted going digital originally, but obviously with the world changing and the way things are, I simply had to. 

4. Shooting a live concert can be very different to shooting a publicity shot for a magazine cover, or an album sleeve. Which do you prefer? 

It depends on what I’m in the mood for. If it’s a great light show, I’ll shoot it because it’s interesting. If there’s no lights, then probably not. I try to photograph everything in available light, because it makes you think more; think about what you’re doing; think about where you’re placing them; think about what the light is doing to the subject. Before you could just take a light reading and know it’s f/8 with f/11 behind. But these days I like to shoot with available light.

5. Starting out so young, wasn’t it hard not to be overawed by these incredible stars? 

The first time I met Robert Plant, I was really impressed, ‘Wow! It’s Led Zeppelin,’ and he walked up to me, poked me in the chest and said, ‘Do you know how to take a Robert Plant picture?’ I was shooting the cover for Sounds in the ’70s and said, because I was young, ‘No, how?’ And he just went quickly and poked me in the chest. I did the shoot and he really disarmed me, I was a bit in awe of him. After that, I thought I’ll never let anyone do that to me again, and I never have, because if you don’t take control of what you’re doing, you end up taking the picture of what they want, not what you want. And that is exactly what happened with that shoot. 

It was a really boring picture of him sitting on some steps and it wasn’t at all what I had in mind. I’ve never let anyone do that to me again. Take your own picture, always be in control. Also, never panic, because you won’t get the picture you want if you panic. Think about what you’re trying to get and you’ll get it.

Booking details 

Catch Ross Halfin on the Super Stage on Monday 16 March 2020, at 1.15pm. Tickets cost £12. 

There are over 200 exhibitors and over 300 free talks and demonstrations at The Photography Show, and sister event The Video Show. 

Tickets for the main show are available now, and you can get 20% off standard adult tickets if you buy them before 11 March – just use the code DCWTPS20 when checking out. 

Don't miss the other Super Stage speakers 

Read more about The Photography Show:

The Photography Show 2020: everything you need to know
Download your free 32-page Photography Show 2020 preview
Line-ups for Photo Live & The Studio stages at TPS 2020 
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If you’re a fan of both live music and photography, then it’s only a matter of time before you’ll be tempted to combine your passions and start trying to capture your favourite artists on stage at concerts. 

Whether your journey begins with a few snaps of a mate’s band in a local pub or with accreditation for a concert at a dedicated music venue or festival, the concert photography tricks and tips provided below will help you to hit the ground running. 

Live music is arguably one of the most difficult photographic genres, with fast-moving subjects darting around in testing lighting conditions, but it’s also a hell of a lot of fun to capture in images that drip with energy and atmosphere. 

Before the show

Selecting the right gear for concert photography can make your life in the pit – that is, the space between the stage and the crowd for security and photographers – a whole lot easier. 

Generally speaking, photographers are only allowed to capture images during the first three songs, and with no flash, so if you don’t have reliable equipment, your window of opportunity for stunning images can quickly disappear. 

There are two main factors to consider when choosing a camera for music photography: how well it handles higher ISO settings and autofocus performance. 

Read more: Cheat sheet - How to understand ISO settings

A camera’s ISO setting controls its sensor’s sensitivity to light, and at the higher levels often required for live music, such as ISO 1600 or ISO 3200, the image noise they produce can be strong enough to noticeably degrade image quality.

A good live music camera can handle these higher ISOs without producing an unusable amount of noise. While there are exceptions, as a rule, the larger the sensor size of a device, and the newer it is, the cleaner its performance will be. 

This latter principle also tends to apply to a device's autofocus system. Here, you’ll want to try and select one that will continue to operate at light levels as low as -3EV or better. 

The most popular current models with professional music photographers are full-frame options such as Canon’s EOS 5D Mark IV and EOS-1D X Mark II, as well as Nikon’s D750, D850 and D5.    

Read more: The 10 cheapest full-frame cameras right now

When it comes to lenses, it’s all about wide apertures, and you should look for optics that provide a maximum aperture of f/2.8 or faster.

A good place to start is a 50mm f/1.8 prime lens, as this provides a very fast aperture for maximum light gathering and a good focal length for portraits and mid-length shots, and it's relatively inexpensive too. 

You can then consider upgrading to a professional standard-zoom lens such as a 24-70mm f/2.8, which is a great choice for small-mid size venues, as well as professional telephoto zoom lenses such as a 70-200mm f/2.8, which is better for larger arena concerts and festivals. 

Buying music photography gear second-hand can often make sense, as with crowd-surfers, drinks thrown, and just by moving around in the dark, all gear will inevitably pick up a few knocks and scrapes along the way anyway. In this field, it's performance that matters, rather than cosmetic perfection.

You can also give yourself an advantage by researching existing photos from a band’s tour, or past tours, before attending the show on things like Instagram and Facebook. For example, does the vocalist tend to hold the microphone in a particular hand? This may mean you want to position yourself to a certain side of them during the night for unobscured shots of their face. 

Is one member of a band particularly prone to pulling funny facial expressions or leaping into the air? You’ll want to keep a close eye on them during the show for interesting captures. Or perhaps there have been pyrotechnics on other dates? Get ready to stand back a bit during the set for some exciting flame or smoke-filled shots.   

Best camera settings for live music photography

When it comes to music photography, choosing the right settings can sometimes feel like a challenge, and often, what works for one show will need some adjustment for another – even if it's in the same venue. 

Here’s how I approach each of my camera's major settings.

Exposure mode

In the fast-paced environment of the concert, the most important thing, in my opinion, is to be so familiar with controlling your camera that its operation feels natural. For that reason, I opt to always shoot in the Manual exposure mode, as I enjoy the ability to adjust my shutter speed, aperture and ISO settings in response to changing light. 

Some concert photographers I know prefer to shoot using the Aperture Priority mode, where they can set an aperture and ISO level, and then use exposure compensation as required instead. Both methods can work brilliantly. 

Read more: What are the differences between the PASM modes on your camera?

The benefit of being in the Manual mode is total control over exposure so that you don’t get any surprises when a camera’s metering system has misjudged a split-second moment of light, but its downside is the time it takes to make changes. 

The benefit of being in Aperture Priority is a faster and less involved control of exposure that leaves you free to focus on composition, but its negative is occasional underexposure and overexposure.

Aperture

Generally speaking, I’ll normally try and keep my aperture at around f/2.8 to allow lots of light into my sensor while maintaining a depth of field that keeps the majority of a subject in focus. In particularly dark venues I’ll open this up to f/1.8 on lenses capable of it, while in particularly bright ones and at outdoor festivals, I may go as narrow as f/5.6 for tack-sharp subjects that still have a blurry background. 

Shutter speed

As a minimum, I try to avoid ever dropping my shutter speed below 1/200sec in order to ensure sharp shots of all but the fastest-moving subjects. Where there are particularly active band members, or where light allows, I’ll try to push this up to 1/500sec, and sometimes even beyond. 

Read more: Cheat sheet - Which shutter speed should you be using?

If I’m struggling to get a well-exposed image at 1/200sec, I prefer to increase my ISO level at the expense of image noise, rather than lose sharpness due to increased motion blur.  

ISO

When I arrive at most venues I’ll begin with my sensitivity at ISO 1600 – a setting I know produces an amount of noise I find acceptable – and adjust it upwards if required to get me to the aforementioned minimum shutter speed and aperture.

In particularly bright conditions, where I’m able to narrow my aperture down and increase shutter speed, I’ll try and lower ISO to either 400 or 800 for even cleaner results. 

Focusing

Normally a camera’s most sensitive autofocus point is its central one and, for this reason, I normally have my device’s single-point focus mode active, and set to the central point. This way, I can half-press the shutter-release button to focus on the subject’s face, before recomposing and taking a photo. 

Other photographers sometimes decide to track their subject with continuous focusing, or quickly change their focus point after deciding on their composition first. These techniques can work too, but in low light, it can sometimes lead to mis-focused shots. Try them all out, and see which feels most natural to you, and which leads to a better hit rate with your particular camera.

Metering mode

Unless I’m capturing a wide image of an entire venue or stage, I’ll normally always have my camera set to its spot-metering option. 

With this tied to my focus area in the centre of the frame, when I focus on an artist’s eyes, that'll be the area that’s most accurately exposed. Many scenarios have massive differences between highlights and shadows, which can throw a camera's metering system, but this generally works for me.

Burst rate

I’ll normally have my camera’s frame advance rate set to the continuous low option. This allows me to quickly capture several shots in quick succession if I hold the shutter-release button, but at a rate that shows some difference in a subject’s movement or expression, so that I don’t end up with ten shots that all look the same. 

If I see an artist look like they are about to jump off something, that’s the one time I’ll consider switching my camera to its continuous high setting.

File type

Raw, Raw, Raw. The much greater file information captured in a Raw file compared to a JPEG is essential if you want to produce the best results during processing. 

No matter how competent a music photographer you become, you’re never going to nail every single exposure you take perfectly. Raw files provide more scope to bring back detail In highlights and shadow than a JPEG, and also allow you to control the amount of noise reduction applied to images for results that look natural.  

How to frame concert photography

So you’ve chosen your setup and selected your settings – now it’s time to talk about what images to take, and how to frame concert photography.

Variety is key. No matter what lens you are using, try to shoot a range of orientations and compositions at every show, so that you end up with a set of photos that keeps viewers interested, and has a range of potential uses in other media. 

A tight shot of the frontman's or front-woman’s face may make for a great portrait print, but if all you have are hundreds of similar images, you won’t have revealed much about the concert itself, such as its atmosphere or audience. Try getting close to subjects to make the most of dramatic depth, or go wide and show the whole band interacting. 

Don’t forget to capture the audience enjoying the performance too, and consider grabbing a few detail images of setlists and instruments. If you take a set of photos that include all of these things, you’ll have taken something that will appeal to everyone.

Be aware of clutter on stage, and try to avoid placing microphones and their stands, parts of instruments and other members in front of your image’s focal point, as they’ll create distractions and make photos feel unconsidered and unprofessional. 

Try to wait for moments where a venue’s lighting seems to place artists within a spotlight for greater impact, and position them so that the eyes appear to look across, rather than out of, the frame. 

Final thoughts

Like all photographic subjects, the more you shoot live music, the better you’ll get at capturing it. With experience, you’ll not only be able to respond to situations quicker when selecting settings but will also develop more of a sense for what an artist may do next, meaning you’ll be ready to grab the perfect shot when it happens. 

Don’t expect to take award-winning images at every show though, and don’t be downhearted if someone gets a photo that you didn’t, with so many factors outside of your control, there’s always an element of luck when photographing live music. Most importantly, have fun!

Read more: 10 top tips for shooting portraits

Live music can be a challenge to photograph, especially indoors. There’s a lot of fast, erratic movement to contend with, and usually very low lighting. And to make matters worse, many venues don’t permit the use of flash. But that’s not to say it’s impossible: armed with the right settings, there’s no reason you can’t come away with shots that rock.

The first thing to consider when shooting gigs is what you are and aren’t allowed to do. Before the event begins, check with the venue staff and event organisers to see whether you’re allowed to use flash. Sometimes, at larger events (such as festivals) you can get away with it, but often smaller, more intimate venues won’t permit it as it can distract the band and disrupt the crowd. 

Also check how long you’re allowed to shoot for; the bigger names tend to enforce a ‘first three songs’ rule, only allowing photographers to shoot at the beginning of the gig, but the rules are different depending on where you’re shooting. Smaller venues will often let you snap away all evening.

With so much to think about, from varied lighting to who’s moving where and what settings to use, shooting a gig is a real challenge, but it can also be a lot of fun. 

Step-by-step guide: School of rock

1. Shoot fast

You need a wide-angle lens, especially in smaller venues, as you won’t be able to move back due to the crowds. Ideally, you also need a ‘fast’ lens, to enable you to shoot in low light at low ISOs. We used a 14-24mm f/2.8 and a 70-200mm f/2.8.

2. Open wide

In Manual mode, set your lens’s widest aperture, to let in as much light as possible – this will enable you to set a shutter speed fast enough to freeze any movement. Where possible, try to keep the shutter speed above 1/125sec (see step 3 for how to do this!). 

3. Be more sensitive

With the aperture and shutter speed set, you’ll need to adjust the ISO to ensure a correct exposure. The darker the venue, the higher the ISO needs to be. So long as there’s some ambient light, and brighter stage lights, you should be able to get away with ISO 1600-3200.

4. Control the focus

When you’re using a very wide aperture, accurate focusing is essential. Make use of manual AF point selection to keep the focus exactly where you want it, such as on a face or instrument. Move the AF point using the arrow keys on the back of your camera.

5. Wait for the light

Waiting for the right light is a key skill. Stage lighting is remarkably varied and can be quite colourful and dramatic, but it’s constantly changing. Watch how the lights change, and try to time your shots to capture the best or most dramatic lighting. 

6. Find your angle

Composition is everything. Find the angle that suits your subject (though you’ll often be restricted to the front of the stage, looking up). Try tilting the camera for a more dynamic feel, and use things like instruments and mic stands to lead the viewer’s eye into the image.

Read more: How to photograph live music