Photographing Live Shows - Wild Powwers
Now we're going into our show with Wild Powwers. This is a show we're putting on with the band. So, we're bringing the crowd and we have a lot more control over the show, in terms of the lighting, the treatment, and the access even. And so, this is a great opportunity to have even more of an all-access kind of look at shooting music photography. It's still going to rely on the same space here at Barbarossa. So, again, the same stage, the same overall lighting treatment, the same rig that is; the lightning package. But because we have more control we had both dial it in. Maybe, even have it brighter And so, this is going to be just another look at live music photography and hopefully be able to make some great shots with this band. (drum sticks hit together) ♪ (soft rock beat plays) ♪ ♪ Is that what you want it to be ♪ ♪ Lying face down on your love ♪ ♪ Trying to pick up your feet ♪ ♪ But you just can't seem to get it out ♪ ♪ You're just so (speaker drowns out music) ♪
Now because we ...
put on this show with Wild Powwers we had a lot more access and control over the overall output. So we can put in lighting requests, what color tints or not that we wanted for the show. In addition, with access we were pretty much granted carte blanche to go and do whatever we wanted. Including with German Lupe's permission, getting on stage, getting up in her face, shooting behind her. And so these are all huge points when you're working directly with a band. And particularly for all the teaching points of producing a show like this: Having that access and really reproducing the effect of shooting for the band with their full permission and authority to basically do whatever you want as a photographer. ♪ (band music grows louder) ♪ ♪ When you so straying ♪ ♪ That's the - [Todd Owyoung] ♪ So for Wild Powwers while we did have complete control over their set, it was just a real set that was playing straight through. So with about 10 songs or so with me shooting about half of the set there are considerations of time. Time is a huge limitation and me as a music photographer I'm still trying to maximize the time I have available doing a set. So if I'm shooting four, five, or six songs I'm going to try to change lenses, get different perspectives, shoot at different distances, shoot both on stage and off stage. Really vary up my approach as much as possible so that I can create images that are as different as possible. Kind of tell that story of the show in the fullest way possible. ♪ Is that how you want to feel ♪ ♪ We can stress things out ♪ ♪ And now this can't be real ♪ ♪ Is that how you want it ♪ ♪ Tell your stupid stress ♪ ♪ That jobs can't pay fair ♪
One other consideration for Wild Powwers is that new bass drum kit was set up in a very open kind of low way. ....the word. From the front there was a very direct kind of open window to her sort of speak, which was great for photography. Drum kits vary by drummer preference. You know,some drum kits might be super stripped down and basic. Others might be varietable like mountains in front of a drummer and so it really varies. You have to feel it out and you may not know what to expect. But for Lupe's kit it was great and perfect for photographing in from front of stage. ♪ (Rock music continues) ♪
Another consideration with Lupe is that she also sings in the band. So with the microphone positioned on the stage's left side she would favor that when she had vocal duties. So, if you're accessing the stage from one side or another or shooting from kind of one side or another, that has to be consideration. And you might notice doing one song where she has vocal duties, she's singing, you're going to need to shoot from, in this case stage left. Because that's kind of how her body was angled, how her head was tilted and you're gonna get a different level of readability when you're gonna have to consider a singer who is also a drummer. ♪ (Band grows louder) ♪
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Learn how to price and license yourself as a music photographer
- Work in even the darkest of venues
- Capture variety with a band during a short set with limited space
- Utilize speedlights within a performance
- Work with performers to pose portraits that capture their music
- Post-processing techniques to take your image to the next level
ABOUT TODD'S CLASS:
With the lights, energy and creativity behind each concert- it’s no wonder that music photography continues to be a dream career. In this course, created in partnership with Red Bull Photography, Todd Owyoung walks through how to get into the music photography business by working with bands, venues and albums. He talks through licensing and pricing your time and your images to publisist, venues, magazines and more. This course goes in the field with Todd and three different bands to walk through how to capture a variety of images in a small amount of time. He teaches how to set up and direct portraits with the band in green rooms and between sound checks. Todd explains how to make even the smallest and grungiest venue make a band look mainstream. This course will teach you composition, working with flash and natural light, directing the band and performers and things to never forget when photographing a live event.
WHO THIS CLASS IS FOR:
- Music Photographers
- Event Photographers
ABOUT YOUR INSTRUCTOR:
Todd Owyoung is a music photographer with over a decade of experience specializing in music lifestyle, musician/celebrity portraits, and concert photography. If it rocks, he shoots it. Based in New York City.
He’s obsessed with nailing those rockstar moments, the images that fans love to see of their favorite bands. Whether the venue is a 200-capacity club or Madison Square Garden, shooting for a major brand or on tour, his images place you in the front row.
His clients range from bands and festivals to magazines, lifestyle brands and ad agencies. In 2012, Complex Magazine named him #3 in their list of the "Greatest Music Photographers Right Now".
He’s a Nikon Ambassador for Nikon Camera