Skip to main content

Shoot: Stage Sound Check

Lesson 3 from: Taking the Fear Out Of Low Light Photography

Jared Polin

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

3. Shoot: Stage Sound Check

Lesson Info

Shoot: Stage Sound Check

Can I get can I get some bass up on that? Just give me a yes that was one piece of base that's right? All right, I feel good now. So the show's all right? We're good. Thank you. I have to make you do something you don't want to just stand here and do nothing. Oh, is that all those fighting words? All right, I'll get the shooting I'll let you play I'll let you play hopefully I haven't offended you too much yet. All right? Why don't we just start the show? Why don't we just start shooting? Because that's what we're doing? You guys are not plugged in so it's just going to be whatever we hear we're going to be hearing it in our head website is again your website where they can hear your music the redwood plan dot com you can listen to them play while we shoot because you won't hear it yet but it's kind of like sound check type thing but I really just want to get into the etiquette of shooting I'm going to leave the lights where they're at right now this is not full on bright this is just b...

asic let me let me wire up which means turn on the gopro stephen that was his reminder to me was to turn on the go pro so you guys get the first person shooter angle only in the final product because we can't wirelessly transmit this, but you're going to see the pictures pop up on the screen when I shoot them. Hopefully s so we're going to get this going. That's why I'm shooting tethered, not normally shooting tethered but for you guys at home, we're doing it. I'm locking in my black rapid strap going to do that while I'm locking in. I put it on sale today, my I shoot role it's called the furnace photo issue we're all strap on sale, you can get that it's stored out for a nose photo dot com it's ah, free shipping free shipping in the u s ten dollars flat ship why are you doing that to me? Ten dollars shipping over seas and is coming with a free lens cloth free sticker, pack free wrist bands and ten people are going to get a free dvd of one of my guides just randomly put in they're so that's it that's a plug go pick one up sound good? We're good to go here, rule number one shooting what we're going to shoot in, what settings raw we're going to roll, we're going to we're all plus j peg today so that you guys could watch the previews on the screen when I take them. Which I've said earlier aren't going to be the actual shots because I have to tweak them which we're doing tomorrow you're gonna watch me edit whatever we shoot today we know that they run around the stage so what do we have to be concerned with their shutter speed because we know that a faster shutter speed in whatever situation is going to help us freeze that motion and if we have it but if we have enough light to see I consider this a low light situation because you don't know what the lights will be and it's always going to be changing mike back there could make it all blew in the background and that could be the worst light ever but we may have to deal with it one of the mistakes that people make when starting to shoot a show is when they first go live the lights may be really demand crappy so don't start shooting away if there's no light to shoot it shoot with if you can't see the band or if there's no light on their face you know that's not going to be a good shot so don't shoot it don't waste the time don't don't even do that thanks all right so let's uh oh I already hit record look at that so settings wise I s o in here what do we think we should start with with the I s o sixteen hundred which which I think is pretty low these days I do I think that's pretty low especially for most cameras we could try doing it but I think that sixteen hundred is one of those if it's extremely bright and we've got like a one eight or something we may be able to do that especially if we want to have a faster shutter speed we may not be able to with the exposure triangle get that but we can we can go to sixteen hundred let's do it let's demonstrate we go to sixteen hundred let's guess the settings my favorite thing sixteen hundred s o we need a fast shutter speed what is it what's where should we start in this lighting environment what should we guess it to be one twenty five or two hundred two hundred weight two hundredth of a second what aperture you wanna go two point eight so this lends does two point eight so let's see a shot of leslie here oh they're having a band meeting I'm sorry sorry just right there that's great that's great oh my god! I know this is not normal whom I mean continuous focus can we get that up on that screen please? It's not terrible but it's it's it's under exposed what ways could we correct the under exposing this? We can bump the I s o uh you could drop your shutter speed but what's going to happen if we drop our shutter speed and she jumps or runs around the stage we're not going to get anything good out of that we're just not so what should we bump where should we go four thousand I like that number I like four thousand and the funny thing about four thousand is I don't care that I'm using this body to get the four thousand my d thirty three hundred goes to four thousand and actually does its thirty, two hundred and sixty four hundred because I don't believe in go in between but the d seventy one hundred's the cannons the seventy d's the five d mark three the sixties any camera that you guys have even the sony's whatever they all have this s o range that blows anything away from six years ago so four thousand is not breaking the rules anymore it's there and don't be this is low life photography don't be afraid of bumping your I s o that noise that grain it's not a big deal I just think people have been trained to think that noise and grain is bad they've never shot film you've never shot ilford thirty two hundred you don't know what green is you know so all right we got to four thousand s o we should just shoot it again you know you know something uh sure you moved around perfect and I got you thank you and I'm in continuous focus, by the way, not the best composition in the world but what that works it's not terrible on my screen, I think this time we're now what it looks it looks good on the tv, but I can tell you on the back of the screen. It's not and I also know from the last time was on creative live that it looked good on the tv, but it didn't exactly look awesome, you know what? Can I look back here real quick? I just want to see the computer because that's going to give me a better representation that's pretty much what my screen looks like, so actually a little darker, but that's actually not bad, so we're pretty close in this case, I think it's a little bright, all right, I think a little bright in the face. Well, again, we're shooting, we're also we have a lot of control. I like the four thousand s o I would consider going higher, but let's, just leave it at four thousand just to do it little bright what could we do? What could we do? Tio, change that up close that shut it down a little bit, so to eight to three, two or three five you said shutter speed, we could bump the shutter speed a little bit in this case, I probably want to bump the shutter speed I air on the side of having a faster shutter speed all the time I rather under expose a little bit and bring it back and post slightly now when I say bring it back and post, I'm not talking about being three stops off. You want to talk about putting grain into images that don't need it if you're exposures are so far off that's, where you're introducing noise and grain and beyond that if you start cropping urine, introduce even more because the pixels and grain in large as you crop it down, my rule of thumb is I personally don't crop. A lot of my readers know that my reasoning behind it is I don't want to get stuck in a game where I'm second guessing every single shot after the fact, but I also want the maximum does that make sense? It makes sense, okay? I also don't want I don't want to. I want the best quality I can out of the camera, so they have, especially if I'm using a d thirty three hundred to shoot. I want the maximum quality with outcropping with that type of thing, so we could go up let's go to three, twentieth it's, not a full stop two hundredth of a second. Two. Four hundredth of a second would've been one full stop. So we just bumped it just a little bit here, and I think we could be good. Wow. Oh, no, no. Ok, good. Yeah. She messed with me. And I didn't take the picture because I knew she had no light on her face when you want to step right here. Leslie, look at that she's out of the lighting area. Why would I would have had a drop my shutter speed, raise my eyes open up my aperture really quick to get that. I know that shot's not gonna work based off of the settings that we had a good curveball. Thank you. So that's not going to work just because they do something. A lot of times, bands will step to the front of stage and, like point at you, and I'd be like, awesome. Could you do that five feet back? Because I have no light when you're touching my lens with your foot or nose. All right. So just just because it's there doesn't mean you need to shoot it. This is actually great information for leslie, so she knows she could get good pictures by doing that standing back through the singer will always come out to the audience because we're trying to interact with the fans and it's true, I'll get a lot of shutters coming up and I'm thinking that can't look very good at all are you really thinking about the photographers when you're up there? I know that we're going to be seeing those shots later and sometimes you know photographers we'll just load them all on the flicker and I'm going to think, oh, I don't want to see that photo you know and but they'll you know they'll be right up there and so we're just trying to interact with the audience we're not trying to give you a good shot I mean usually for down here trying to talk to the fans know that that's good to know and are there photographers that you've seen their work online that you may not have known that you've contacted said hey, why don't you come out and shoot us? Um yeah, you know and actually yes, as a matter of fact, the guy who ended up doing are promo photos he does amazing william anthony and he does wonderful live shots and he shot us here and I mean it was it was a production I mean and and really, really appreciated that he understood the sort of lighting inconveniences here on he was ready to go and he also understood where to stand to shoot us and and, you know, knowing that I get down into the crowd, you know, he was never standing there, he was waiting until I was back here running around over here and then then those are where the shots came from. Awesome. All right, thank you. I love interacting. I love asking questions really quick just for people at home who are asking because a lot of people are asking about the gopro on your camera just to let you guys know we're doing that for ourselves. We want to have a kind of froze eye view of what we're doing, and we're going to edit that into the the final product later. So if you buy any time access to the course, she'll actually able to see from froze perspective while we're shooting. Yep. Good call. Thank you. So I'll put you right there again where you're that's fine, I'm moving around cause I'm looking note note back here back that right there I'm always looking at the light I'm seeing where the shadow is. I'm always observing what's happening here because I just been trained so well to do that here's another thing right there that that's fine, I'm just going to do this on purpose, we got that and we also have that light right behind her so let's take a look at this I'm gonna put you back in the same spot their exposure is not bad this is usable and you're looking at a j p j peg basic which is crap still not giving away a guide but I know how I can tweak this in postproduction my focus, my focus in a show or in anything that I shoot is getting my settings right once I get my settings and we're in manual by the way for anybody out there we're not shooting this an aperture priority I want to shoot one in aperture priority and see what's going to happen hopefully it's not perfect and then I have to like eat my words and stuff back to the same place for me perfect right there actually where you were a little back there you go uh huh let's see what metering mode on mom? Because I don't even know what metering modi get on half the time it's actually not that bad this time but uh lean down just a little bit well, I'm just going to do that. I'm just going to do this to show you what could happen if she moves out of the way really quick I mean, obviously the focus is off but we're now meeting for the light in the background we know we don't I saw in the camera that what does that say one twenty five hundredth of a second if you see something that looks so asa nine is not a curse if you see something that is so acid nine that is just out of the ordinary you know it doesn't work, especially when you've taken a couple of pictures and you've seen that it looked good at four hundredth of a second I don't even know where we were at where were we before? Uh we were at one three, twentieth it shoot oh, no that's what it said we read, where were we? Four hundredth of a second? Right? So the reason I don't get into aperture priority because I don't know, I don't want the shutter speed jumping around all the time. I don't want to miss the shot because leslie is jumping and then the camera gets thrown off by the meter in the background. Sure you could spot meter you could do things like that while I'm here. Can you guys throw up my jared paul photos photo dot com just linked to my site with the orange box if you can, I have a free guide to capturing motion in low light situations on my website somewhere it's an art just look for that orange box on the site at photos photo dot com put your name, email address in it, and I'm not only send you that guide free but I'm going to get you a bunch of information over the next couple of weeks to get there the reason I'm saying that because you can read this guide one thing I mentioned in that guy because I did that all right thank you we're good there the one thing I mentioned this is I put that thing out a couple of years ago and when I first put it out I put it out to be very very basic in low light and I did have its say aperture priority but I showed examples of what it would look like if the meter gets thrown off so you can do this stuff in aperture priority just when you're starting out when you get more confident just take a look in and switch off in the manual so you can sign up for that send you that for free you can get it free to all right so we got that we see what we had I didn't like aperture priority so I'm going back in the manual what was I four hundredth of a second it to eight at four thousand no we were at three twenty okay three twenty I'm gonna go to four hundred just because I want I want t I talk about cheating the system it may not be the perfect exposure but I rather get a sharp image of somebody still or not still but I rather freeze that motion then have that blur because in this day and age, if it's not tax sharp in my opinion, it's kind of not a keeper and I throw it out, I get so upset when I look into the computer and I see a picture that's not taxed are because I know I know there's nothing I can do to bring it back. So that's, something to keep in mind back in the day when you're shooting film, you go back into the seventies and the eighties when they didn't have the gear like we have today tax sharp wasn't as big of a deal because you had limitations sometimes motion blur does work in certain situations, but for stuff like this, I like to do it. I'm gonna let you play a song, mike, you ready really quick, actually, before we get them started there a couple more questions if you don't, no problem, we've got I know you what white balance settings do start out with great question we're shooting raul in this case, the lights are going to change from red to blue to green the orange, the purple tow lime toe, terrible colors, I leave it. This is one of the only things I leave an auto when I'm shooting its auto white pounce and nine thousand nine hundred ninety nine times out of ten thousand it's going to be pretty darn close, pretty darn close plus, when you shoot raw, we have the ability to tweak that file after the fact and get the best white bounce that we need. Also, I think it does a pretty good job, not with that photo, but, uh, I think we're good to go. I'm going toe can we do, like, two minutes? It's gonna be a little different? We don't have the electoral. Yeah, we're going. We're going to feel it out at home so and just one more time. Sorry, I hate to interrupt, but one more time. A reminder for everyone at home that we don't have the audio set up for the redwood plan to be heard the way they should be and that is on us that is on creative live. They know what they're doing. They're going to sound awesome. So if you want to hear their music the way they should and it should be let's, go to the redwood plan. Dot com, check out the music. They are awesome. Before they start, I should talk about focusing focus modes. What are we doing with focus modes? Continuous she's moving around a lot I may have to get into continuous, I may be in the dynamic nine. Or group area focus that a lot of cameras have today I mean continuous I am moving constantly moving the focus point around my goal is to hit the face with the focus I'm a two point eight so my leeway to get that focus may not be the best I may miss a little bit and I don't want to do that but I'm going to try my best I'm going to shoot I don't know what lenses I'm going to use just about yet but we're going to aa we're just going to do it we'll do this for a little bit because we've got twenty three minutes in this segment and here we oh wait I forgot something too hold on hold on hold on I'm just going to be all authentic I'm gonna put in my ear plugs wait I'm not putting my all right I'm not putting my ear plugs in all right so a very odd day that god doesn't want donald I want someone to grab bag you get your head and tune it you keep your mind checking you know that everything I wanted everything I needed my don't measure out say things I don't nated mom then when mature on every single do my my break and now giving tio today if you could be what he's a bad you can go ahead and you can go on check it you pay your hand you know that everything I want everything out here don't you know you have got now governor what sean that show me what you can know point reyes essay yes game's big get they backstab him see if you so they just they not know because now watches a little subtlety I want to so much to surprise a man you can go ahead and do it big hot check it you have you know that everything I want everything I need I don't measure don't you dare you got that west your chances have you ever giving them what's your that show me what you can you know point reyes is saying get beginning I have a feeling that's tasty thank you very nice was very good. Okay, how do we do? Because I didn't look at one picture I took that thing you're in the room it was it was good. Did you notice anything going on like was there any? Why that's good. Wow, I think that's good. Well, see that that brings up a good topic eating the microphone pictures now that that's one of things one of one of my one of musician puts a mic right on the stand right in the middle if you're going to say you didn't see me stand in the middle of all, I actually moved over here a couple of times but then the mike stand was in my way I wanted a clear shot I didn't have it and sometimes you saw I try to angle myself, so I'm not, but I'm in between the monitors because I don't want the monitors showing up because that kind of takes the picture out of, you know, I don't like it as much she was moving around extremely up to doing this the whole time, right? Is that normal that's a lot of movement, all right? I'm going to look through real quick and I'll spit out cem some stuff we're going to be critiquing these, I guess tomorrow, uh, I'm just gonna look real quick and you also switching role? I'm going to be doing post processing and editing on post processing and and and I'm going, I'll just brain dump on everything that we do when I'm editing the photos. I'm going talk about what I did right? What I did wrong because I'm not perfect out here. I will say this when you are shooting a show. One of the main things to think about is if you come out with five six seven to ten solid images from a wide shot to the tight shots to the group shot, if you can tell the story in ten images or around ten images that are keepers that's a good thing and when you are showing your work, don't put up crap if you have crap work and you know it's crap don't put it up put up the best of the best of the best of the best with honors sir that's the stuff you want people to see have that represent your work all right okay. Steven anything good so far okay, I mean, I want to I want to look through this doesn't want it show some stuff to that microphone eating talk about the microphone in the mouth maybe yeah okay, uh put up number thirty six fifty one please wow. Anyway he's going to find that I'll talk about the microphone in the mouth thing if you're standing right in the middle and the singer is singing and they're eating the microphone it's not a useful picture anybody that shoots for getty images or anybody out there a microphone in the mouth shots not great it's so much harder when she's running around holding the mike and singing I'm trying to get a certain shot where I'm not here the microphone's not in your face compositionally it's fine, I would like it a little bit tighter and again I'm not crop in this but I would like it to be a little tighter when we run through a set and we may have you guys shoot a little bit I'm going to have mike go nuts on the lights I'm sure you have a ballot at all no I'm not I'm I love the challenge but I would like some where we're standing but quote you have one that I stand awesome then that would be good to have I just like to know what's coming up so I what lens I didn't switch lenses there I had an idea of going to a seventy two two hundred I also had I like to run through the fourteen to twenty four if you just have three songs to shoot that's anywhere from ten to fifteen minutes depending on the band I will say the first time I ever shot was the counting crows and mrs potter's lalla by live was like eight minutes it was like awesome I got to shoot for eight minutes and you know how many great pictures I got out of six rolls of eight hundred speed film I shot anybody like to as I sucked I does the first show I ever shot I wasn't any good but the only way I got better was to keep shooting so we look at this shot is it a winner it's not it's not the best of the best but it's not bad she's not eating the microphone she's singing she's looking at me it's not about the lighting is good the exposure is right on we're at four thousand s so it doesn't look terrible it looks really solid it's going to look solid no matter what camera you used pretty much as long as the focus is right. I'm on that continuous focus because I knew she was going to jump around let's. See what else we have in here. Did anybody notice? Oh, ok. Oh, I see something. That's. A good shot. Let's. Go toe thirty six. Forty seven and then we're gonna go up the hill from there. Thirty six. Forty seven. This is a cool action shot. I went with some tight horizontal cols! But I also wanted to get the verticals down when she went into this little dance thing that mike came away from her face. So if the mike is in her face the whole time, then you just it may not be worth shooting certain things. You have to wait for those moments to get those shots that you need. That's what I did here, this is kind of a cool shot, she's. Not looking at me, which is fine. Also, we'll talk about these lights in the future and how I used the body of the artist to do that. What's the next one can we go to the next one? And the settings are up on the screen, right? Four hundred of a second. So I moved her off to the side you have this light here is what's lighting her up? This would be a killer black and white I know that this is going to be a black and white there's not a lot of light your face but she has a rembrandt she has the triangle there that works for me. I know that when I boom if I this and I bumped my exposure up a little bit the raw files going toe hold hold together and I also and this is the j bag, by the way. So when I do that this is going to be a solid black and white I open and pull that out no, the jerk stop are safe to me. So something to keep in mind before I did that I was talking about that uh yes images come to life in post they do because we're seeing the raw file on the back of the camera it's raw it's unedited it doesn't have anything yet but it has all of the data that we need half the job is done shooting the picture, getting that right in camera and then the other part is bringing your images toe life just like ansel adams did in the dark room he had terrible exposures but he spent years and years doing his thing in the dark room getting amazing post processing things going on stuff comes the life after the fact also don't delete pictures at the show don't delete anything from your card case you accidentally reformat it you don't want to do that there's no reason to delete there's no reason that you should run out of space if you're shooting I have the ability to shoot seven hundred and seventy seven more photos I have thirty two gig cards in here redundant but that shooting raw plus that j peg basic you should not shoot seven hundred photos during a set I think average if you're going to shoot a three songs that you're looking at no more than two hundred photos happening that's just me there were times that I just you saw me stand here she went over here and there was no light on her so I just put I just waited I didn't shoot it I went looking for another image over here this got in my way I didn't shoot it I went for this hard sonically because book the mike is an interface it's not in her mouth it's even though she's holding it with their left hand we still have it a clear shot of her and I put her off to the side for the rule of thirds this lights not going to kill me when it goes it's gonna be a bright spot during the during the post processing and if I was an aperture priority the exposure would have dropped way down she would have been blurrier out of focus next one please that's called out of focus that's not a good shot but that's going to happen if you miss you're not going to be perfect every time anybody that tells you that they go out and they shoot and every single picture they take is perfect then they don't there's no reason for that or it's not gonna happen I'm not perfect nobody's perfect every single time but you control what people see if it's not worth putting out don't put it out it's that simple let's see what's next not a great shot that's eating the microphone what's after that and then I went back to vertical because sometimes these vertical shots or just easier to take if you have if you're shooting with say that kit let the seventeen the fifty five which is equivalent to what I'm using right here you have something stephen do you like sai up full body right that's tight shots yeah yeah depending on the artist you can do that I that brings up a great point. I'd like to run through a little bit of everything in my mind I'm keeping track of what I've taken I have my wide shot of my wide vertical of everybody on the in the band depending on the band like if it's paramore I'm shooting haley the whole show because the other two are not really in the band, so everybody cares about haley it's just the nature of the beast no offense to bass players of the world all right? I mean, they have you in the darkness right now on that wasn't on purpose. All right, well, then some of that stuff's interesting to know a good way into of the band is maybe get good shots of the drummer or the bass player. People have trouble getting drummer shots there's not as much light back there, so we'll shoot that during the show will show when we get after the break we'll show you what it's like to try to get the drummer and how we can cheat the system to make great drummer shots because a lot of people neglect the drummers run through those wide shots, try to get those three quarter waist up, try to get those tight shots like I did hard hard sonically there of the head try to get the vertical shots also male versus female singers sometimes tighter shots of the females they may not like them that's just my does that matter, right? Like I heard that there's a singer named area and a grand day and on her release it says you will not shoot her from the left side of the stage you must shoot her from the right side of the stage he only has one dimple she's, twenty one years old. Nobody gives a crap. All right, just shoot the freakin pictures you're an artist nobody cares on. I even know stephen told me that he got to shoot paramore o three songs set there's three songs and out get used to it, you will shoot three songs and then you're done that's normal. Uh, but they actually let stephen shoot paramore the other week, the last three songs in the show, which sometimes with the best to shoot and most artists won't let you do that. But just be cognizant that that's going to be out there, you've got your tight shots, you're wide shots trying to get a full band shot if you can. If you're in the pit for twenty, ten, twelve minutes, etiquette wise don't own one spot the whole time now. I did that when I had to shoot that side guy doing gang din style because he only saying one song and left, what can I tell you? But I owned the center spot and it made for the best shots I have gotten because I knew that they were going to dance in a pyramid, and that was awesome, so again, knowing where to be, you're in the pit. Work with the other people move around don't stand in one spot don't be a pain in the ass to the people but that's not a curse to the people behind you and there you have it so that's what we've got there any questions yet? We've got a lot of questions here if folks don't on the go ahead run ok let's go ahead and start with gen vasquez photography love to know why you used the hood in low light settings and then actually if you could just talk about the concept of flash in general lots of questions about flashier neck okay uh your name at a concert all right further questions first lens hood I'll just answer because it was to me I'm not gonna ask you why do I I use the ones who had no matter what I am shooting it serves multiple purposes one it's going to block stray light from entering into my camera to give me lens flare. I am not a fan of lens flare I know people added in post, which is, I think one of the dumbest things ever adding stuff and post like that I use it so it blocks stray light even if I'm shooting indoors no matter what it's just one of those habits that I've gotten in because if you ever shot a picture under a tree on with the background and it's just the contrast just pops you know you ever shoot I got to think of a scenario which I can't think of but where the lens hood if you you go and you go like this over your eyes okay that's a scenario? Good job, jared you're still you're standing outside and you go like this and then you go like this and it's all bright and squinty because the light is just interfering with your eyeballs when you go like this and no look it's blocking the sun, everything looks great it's like wearing a hat when you're playing baseball same thing, the contrast becomes better same thing happens with a lens hood indoors outdoors. It may not have the same effect indoors and the last thing is I don't use filters on my lenses. I don't like uv filters. I think that I don't want to put a piece of glass in front of my great piece of glass. They do sell really good filters at allen's camera dot com they have, they have filters, they like to push filters, not pushed bad films, they sell the best ones. I usually wouldn't sell them when I used to sell their unless somebody specifically asked for a filter because they want to protect their lens if you want to protect your lens and you want to use a uv filter make sure you buy the best of the best uv filter. The last thing you want to do is put a bad piece of glass in front of a good piece of glass because it turns into a piece of ass does that? I just came up with that. Does that count as a curse? No, you're okay, all right, so that was that. And the other thing that the one so it does is it protects it from bouncing off of things. It's your lens so it will take the hit before your lens takes the hit. Most likely and that's what I got there, russ flash. No flash concert photography with flashes a no go I've known a musician to kick the flash off of a camera because he was tired, he or she excuse me, hold on water, it's just it's an etiquette thing if you're going to stand here and papa flash off in their face while they're trying to sing it's going to get annoying? I've used flash with bands that I've worked with before, but it's never been direct on camera flash. I may put a flash up there on on the side, on a balcony strap of flash, their wirelessly that's not going to distract them with strobes going off and lights in their face. But that flash over on the side is going to give me some dimension, but that's a totally different course altogether. It's a no go from the pit, they usually say three songs no flash and that's just how it is next. Kind of going off what you just said calvin corruptly from australia. How close should we get before you know that the connection with the singer starts to become just like romantic? Almost you know, is it just the closer you get, the better? Like for when you're in the pit? Like when you're when you've got your camera out? Are you just right up in their face and trying to hold back? Well, if you're if she's going to stand here, leslie is going to stand here at the mic and shoot. I'm not going to stand here and be like this. We've all seen that video on youtube on the internet that floated around a couple months ago of a guy just popping off a flash nonstop in their face, holding it up. Don't do this in a concert, by the way, please don't hold your camera pond, try to get those spray and pray shot if you can't see it through the lens, it's probably going to be a bad photo. Nine out of ten times you may you may get one good one every once in a while I the artists are there to do a job and you're there to do a job. I like to sometimes move off to the side depending on the scene or depending on the venue that I met here I don't I'm not going to move off to the side too far because I don't have a lot of light in the front, but on the side it's a complete void, it's black and I don't have any separation there, so that may not be the best shot, but I'm not going to get all up in their face. I will get those wide shots, but if you saw when I was shooting, I did get down here at one point this makes the artist look bigger I also I'm working on blocking that light using leslie's head to block the light in the background is there if you see a photo there's a he's not there anymore, we'll show you what I'm talking about where I used the body of the artist to block the light that's up in the background because that's going to create a nice halo around them, but they're going to be sharpest can be and that light becomes overpowering to the sensor and it causes that halo you lose that contrast it becomes less bhumi and you know that I love bhumi shots, so those are just some things that you do to move around to get the best shot that you can get. So that's that what else we got, right? We got one from kellum if there is no pit, do you ever have the opportunity to shoot on stage? And can we maybe talk a little bit about that? Yeah, if you're with the band in one way or another, you have a better opportunity count. Thank you for your question you have a better opportunity to get in getting on stage just ask for it. Hey, by the way, a tour manager there's, no pit tonight. Is there any possible way that that I may be able to shoot from the side? I've done? I've shot from the sound from the stage before I'm just looking for a different angle, maybe even if I'm not on the stage, but I'm on the side of the stage, I'll be out of the way of the crew, the tech guys working on the guitars, I will stay out of their way. I just want to get a different angle that I think is going to give me a better opportunity to get winning shots sell it. Your sales people sell yourself. Not for too cheap, though. Uh, refs in. Do you keep changing the focus points, or you just said it at the centre and leave a good question. I changed the focus points consistently or continuously or constantly anyone of those three words, I moved them around my focus area. I want on the face generally the eye, but a lot of times, you may not be ableto get right on the eye. Somebody that's running around a lot. I switched into the dynamic group area focusing that gives me like a triangle in a certain area. I try not to put it all the way at the top of the frame. Focus wise. You try to use the cross type sensors. Those are going to be the best type of focusing places that's gonna help you focus quicker and more accurately. But if you put it at the top and then she drops down like this, your focus is going to skip to the background most of the time. So I try to keep it in an area that's right above the chest. Try to get it on to the face and then anticipate the motion, anticipate where she's going to go or he's going to go to get the photos, so I'm always moving my focusing points around and in terms of in terms of focus, I'm in continuous focus when I need to be. And then I get in the single focus when the artist isn't moving, so continuous focus a lot of times, single focus. If the artist isn't really moving, I lock in on them. And I get that tight, tight focus. And I keep my focus people on, because I may still even I still may be able to hear it over the loud, loud noises.

Ratings and Reviews

Rusty Shinault

I'm a huge fan of Jared Polin; love his humorous and relaxed style of teaching. I love that he's passionate about photography, and that he is willing to share his experiences, opinions, and knowledge. I really enjoy Creative Live classes, and really enjoyed watching Jared teach in front of a live class. Hope to see more of Jared teaching on your platform.

user cf5d2d

Jared did not disappoint! He shared his knowledge of composition, exposure, and capturing the moment - all while engaging his audience and keeping things light and fun. I absolutely LOVE when how he sets up his equipment so that we can see each snapshot he takes, and then tells us why it's a good shot or why it's not a keeper. It's so easy to learn that way. I'm a second grade teacher (a.k.a. an educator) who, thanks to Jared can call myself a photographer. Jared is a photographer who is also a great educator!

a Creativelive Student

I've seen a few CreativeLive sessions and this was one of the best. It was very unique and engaging I liked the onsite shooting and review and critique. I have done teaching and I know how hard it is to teach WHILE you are doing and I think Jared did a great job of balancing that. I'm quite familiar with his FroKnowsPhoto podcast and website so I knew what to expect and both HE and CreativeLive EXCEEDED my expectations. Thanks much also for letting him use use studio for Raw Talk on the Road (my suggested name for it), I could see a real opportunity for CL to provide access to their facilities for others wanting to record training, etc.

Student Work